Dissertations / Theses: 'Industria culturale'

1

Renzulli, Carmine. "Il regime di diritto internazionale applicabile alle cultural industries." Doctoral thesis, Universita degli studi di Salerno, 2012. http://hdl.handle.net/10556/1288.

Full text

Abstract:

2010 - 2011
Il presente studio ha per oggetto il trattamento destinato alle opere culturali dei media nel quadro delle regole e dei principi che informano il diritto degli scambi commerciali in ambito internazionale ed europeo. I timori da molti manifestati circa le ripercussioni del processo di globalizzazione sociale, giuridica ed economica in atto sulle specificità e le tradizioni culturali locali, si amplificano e giungono al culmine quando si affrontano le politiche sul mercato dei media: in questo contesto, le trattative sul commercio e sugli investimenti si sono arenate sulla questione di una «eccezione culturale» che consentirebbe di rivolgere ai prodotti e ai servizi culturalmente rilevanti un trattamento differenziato rispetto alle altre categorie di beni o servizi, in virtù della convinzione che, per svilupparsi, la produzione culturale necessiti di un certo sostegno pubblico. Se, in diritto internazionale, la questione si è posta con tutta la sua problematicità al termine dell’Uruguay Round del 1994, con l’inserimento, tra le regole commerciali, di una clausola che escludeva il cinema e gli altri prodotti audiovisivi dalle norme adottate durante il negoziato, nel processo di integrazione europea l’esigenza di garantire la diversità culturale è destinata a scontrarsi con la spinta verso la realizzazione del mercato unico, che da sempre rappresenta una sua tematica propulsiva. Sul diverso versante della cooperazione in materia culturale, la Dichiarazione sulla diversità culturale promossa nel 2001 dall’UNESCO ha gettato le basi per una serie di iniziative internazionali le quali – volte ad incoraggiare la creazione di standard per la tutela della cultura nelle sue molteplici manifestazioni – sono culminate nel 2005, con la conclusione della Convenzione sulla protezione e la promozione della diversità delle espressioni culturali, primo strumento vincolante volto a garantire la diversità culturale. Nel tentativo di fornire una ricognizione generale sulle correlazioni che la produzione artistico-culturale dei media vive con il regime degli scambi commerciali, il lavoro sarà anzitutto orientato a comprendere, in via preliminare, quale sia il ruolo rivestito da tali opere nel più ampio contesto del patrimonio culturale. In tal senso, nel primo capitolo si osserverà come la nozione di cultural heritage si sia evoluta nel corso degli anni subendo un processo di progressivo ampliamento rispetto ai canoni classici, in cui i media vengono in considerazione in una prospettiva nuova e del tutto particolare, così come crescente è il rilievo assunto dalle imprese culturali (cultural industries) dei media, le quali si trovano oggi ad operare in un mercato globalizzato, cui fanno capo quote sostanziose di diritti di proprietà intellettuale e di cui non è agevole fornire una definizione valevole in ambito internazionale, anzitutto in virtù delle differenze sociali e normative esistenti tra gli Stati nel modo di concepire la produzione artistica. Nel corso del secondo capitolo sarà approfondita l’analisi dei rapporti tra mercato e cultura nell’ordinamento giuridico internazionale. In particolare, dopo aver analizzato in dettaglio la Convenzione sulla protezione e la promozione delle diversità delle espressioni culturali, si volgerà lo sguardo al regime degli scambi internazionali negoziato nell’ambito dell’OMC, valutando se l’articolato della Convenzione UNESCO del 2005 risulti idoneo, conformemente alle aspettative, a rappresentare un valido compromesso, per la produzione artistica dei media, tra esigenze commerciali e valori culturali. Il terzo capitolo sarà infine volto ad esaminare le relazioni intercorrenti tra mercato e cultura nel diritto dell’Unione Europea, dove le soluzioni raggiunte sono più interessanti grazie al maggior grado di integrazione tra gli Stati membri. In tale ambito, sono ancora diverse le deroghe concesse agli Stati membri dell’Unione in virtù di valori sovraordinati che possono dar luogo, tra le altre, alle restrizioni di cui all’art. 36 TFUE o alla compatibilità degli aiuti di Stato contemplati dall’art. 107 (3) TFUE. In entrambe le norme considerate, ricorrono le ipotesi di protezione e promozione della cultura tali da non incidere in misura eccessiva sullo sviluppo del libero scambio e della concorrenza tra imprese. Prescindendo dalla salvaguardia del patrimonio culturale stricto sensu, il lavoro intende complessivamente osservare – alla luce della normativa di riferimento e della giurisprudenza più significativa sul tema – entro quali limiti le imprese nazionali operanti nel settore dei media (editori librari e musicali, emittenti radiotelevisive, produttori cinematografici) possano legittimamente essere destinatarie di trattamenti privilegiati in ragione del loro status di «imprese culturali» e quando, viceversa, tali agevolazioni risultino contrastanti con i monolitici principi posti a tutela del libero mercato nell’attuale scenario globale. [a cura dell'autore]
X n.s.

APA, Harvard, Vancouver, ISO, and other styles

2

Gatto, Francesco <1994&gt. "Dall’agro-industria all’industria culturale. Il ciclo di vita dello zuccherificio Eridania di Parma (1899-2001)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20961.

Full text

Abstract:

La tesi ricostruisce la storia dello zuccherificio Eridania di Parma dalla sua fondazione, nel 1899, alla sua “rinascita” come auditorium musicale realizzato dall’architetto Renzo Piano, nel 2001. Nel primo capitolo si ripercorrono la storia del settore saccarifero italiano e i primi decenni di vita dello stabilimento parmigiano. Nel secondo si analizza la fase postbellica, quando la creazione del mercato unico europeo pose dei forti limiti allo sviluppo del settore agro-industriale, che subì forti trasformazioni al fine di competere con i produttori europei. Di fronte alla volontà della proprietà di chiudere lo stabilimento, tra il 1967 e il 1969 i lavoratori e i sindacati di categoria reagirono con una forte mobilitazione che ottenne grande solidarietà da parte del movimento studentesco, delle istituzioni e dei partiti locali e che fece leva sulla solidarietà tra produttori bieticoli e operai zuccherieri. Ciò non bastò a impedire la chiusura e la delocalizzazione della produzione in un comune poco distante. Lo zuccherificio, dunque, visse un trentennio di abbandono e degrado durante il quale vennero avanzate alcune proposte di recupero, ma solamente all’inizio del XXI secolo venne convertito in auditorium musicale e inserito all’interno di un progetto di riqualificazione urbana. La ricerca, basata su un’ampia ricognizione di fonti negli archivi locali, tenta di coniugare storia economica, storia sindacale e heritage studies per indagare il ciclo di vita di una fabbrica italiana tra industrializzazione, deindustrializzazione e rigenerazione a nuovi usi.

APA, Harvard, Vancouver, ISO, and other styles

3

Paolillo, Costanza. "Ferrania. Un’impresa, una rivista : industria fotografica e lavoro culturale dagli albori della società dello spettacolo italiana." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/85764.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Fenati, Francesca. "Outsider - collettivo giovani creativi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.

Find full text

Abstract:

Ousider - Collettivo giovani creativi è il servizio che abilita e facilita la fruizione dei servizi regionali esistenti nei settori delle Industrie Culturali e Creative, rendendoli finalmente protagonisti attivi dell'intero ecosistema. Gli obiettivi perseguiti sono due: - rendere più consapevole l'istituzione regionale in merito all'importanza del ruolo dei giovani creativi quale motore di innovazione spontanea generativo di valore aggiunto al territorio; - abilitare le giovani generazioni - già formate nell'ambito della creatività e della cultura - a concretizzare le proprie idee e progetti per generare nuove opportunità di lavoro e realizzarsi come professionisti. Attraverso la piattaforma dedicata, realizzata in collaborazione diretta con gli enti regionali operativi nell'ambito culturale e creativo, vengono forniti tre diversi strumenti in grado di governare e facilitare questo processo. I giovani creativi possono infatti: - ottenere una panoramica gerarchizzata e personalizzata dei servizi regionali disponibili con accesso facilitato e diretto alle risorse dei singoli enti erogatori; - incontrarsi virtualmente e fisicamente tra loro, per collaborare e sviluppare insieme i propri progetti; - accedere agli spazi e fruire dei servizi già disponibili e sottoutilizzati dell'ecosistema regionale; - raccontare i propri progetti e i propri successi in occasione delle manifestazioni culturali regionali già presenti in Emilia Romagna.

APA, Harvard, Vancouver, ISO, and other styles

5

Díaz, Munizaga Paz Loreto. "Industrias culturales e industrias creativas, evolución histórica y conceptual, confluencias y divergencias : El caso de Santiago creativo, plataforma para la exportación de la industria creativa." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115940.

Full text

Abstract:

Licenciada en artes con mención en teoría e historia del arte
El concepto de Industria Creativa es relativamente reciente y su origen, ciertamente, se debe a la necesidad de establecer e implementar nuevas áreas de producción y creación de bienes culturales en la sociedad posmoderna. Comprender qué se entiende por bien cultural y cómo este actúa en una doble dimensión; por una parte como bien social al servicio de las condiciones de identidad y ciudadanía, y por otra como bien de consumo o mercancía, busca abrir nuevas perspectivas de análisis. Se revela así, una nueva forma de entender la relación entre cultura, economía y creatividad, poniendo en tensión el concepto más tradicional de Industria Cultural. En consecuencia, los conceptos y categorías existentes deben ser analizados críticamente para dar cuenta de estas transformaciones. Por este motivo, se pretende revisar la evolución conceptual de las Industrias Culturales y su desplazamiento hacia las Industrias Creativas, a partir de una revisión teórica que inicia en las primeras décadas del siglo pasado con Walter Benjamin y llega hasta nuestros días a través de George Yúdice, desde los primeros debates hasta llegar a los actuales, se busca replantearlos críticamente con el fin de iluminar los problemas teóricos y sus alcances prácticos.

APA, Harvard, Vancouver, ISO, and other styles

6

CANALE, Alessandra. "Dinamiche di popolamento e processi di trasmissione culturale nel comprensorio madonita attraverso la ricostruzione della viabilità antica." Doctoral thesis, Università degli Studi di Palermo, 2020. http://hdl.handle.net/10447/444789.

Full text

Abstract:

La ricerca sulle Madonie nasce con l’intenzione di approfondire l’evoluzione storica del popolamento sulla regione montana della Sicilia nord-occidentale. Il territorio, che solo in anni recenti è divenuto oggetto di più approfondite ricerche storico-archeologiche, si presenta estremamente ricco di risorse naturali e caratterizzato da un sostrato culturale variegato che abbraccia territori d’alta montagna, dediti ad una economia silvo-pastorale prettamente conservativa, e insediamenti costieri fortemente proiettati allo scambio e al commercio. A fine di comprendere lo sviluppo delle dinamiche d’insediamento di un’area molto estesa, si è proceduto anzitutto con la restituzione ipotetica dei principali assi viari antichi, fondata su documenti storici e cartografici di epoca medievale e moderna, seguita dalla verifica di eventuali resti di questi sul campo. Sono stati presi in esame dati noti da scavi, da indagini di superficie nonché da rinvenimenti fortuiti e occasionali. Si è proceduto quindi alla ricerca di insediamenti antichi sul territorio con un approccio metodologico basato sulla ricognizione estensiva di aree campione. Queste ultime sono state selezionate osservando una serie di parametri prestabiliti che tengono conto dell’aspetto geomorfologico e del rapporto dell’area in esame con le risorse naturali ad essa circostanti. La relazione topografica diretta con la maglia stradale antica, ipotizzata in precedenza, è un termine di preferenza costante nella scelta dei luoghi. Lo studio concede una panoramica storica aggiornata su un territorio ancora poco noto e sul rapporto uomo-ambiente nel corso del tempo, mettendo in luce l’importanza della viabilità antica come elemento dinamico del paesaggio antropico e veicolo di analisi dello stesso. L’elaborato, suddiviso in cinque capitoli, comprende: l’analisi del paesaggio naturale, il vaglio della documentazione storica, la descrizione della metodologia di ricerca sul campo, la redazione di una carta archeologica dei siti rinvenuti, la ricostruzione della maglia stradale antica basata sull’incrocio di dati noti con tutti i dati raccolti e si chiude con alcune note conclusive attraverso le quali si tenta una definizione delle dinamiche storiche di popolamento sulle Madonie.
The research on the Madonie mountains was born to investigate the historical evolution of settlement in the mountainous region of northwestern Sicily. The territory, which only in recent years has become the subject of more in-depth historical-archaeological research, is extremely rich in natural resources. It is also characterized by a varied cultural background that embraces high-mountain areas, dedicated to a naturally conservative agropastoral economy, and the settlements coastal areas heavily focused on trade and cultural exchanges. Having to understand the development of the settlement dynamics of a very large area, first of all, we have proceeded to the hypothetical restitution of the main ancient roads system using historical and cartographic documents of the medieval and modern times, followed by the verification of any remains of pavement and ancient infrastructures in place. After examining data from excavations and surface surveys, as well as accidental discoveries, the search has then carried on by a methodological approach based on the selection of samples areas. That latter was chosen by observing a series of pre-established parameters that take into account the geomorphological aspect and the relationship of the area in question with the surrounding natural resources. The direct topographical relationship with the ancient viability, previously hypothesized, is a term of constant preference in the choice of places to investigate. Overall, the study provides an updated historical overview of a still little known territory and of the relationship between man and environment over time, highlighting the importance of ancient roads as a dynamic element of the anthropic landscape and at the same time vehicle of its analysis. The paper, divided into five chapters, includes the analysis of the natural landscape, the sifting of historical documentation, the description of the field research methodology, the drafting of an archaeological map of the sites found, the reconstruction of the ancient road system based on the crossing of the known data and all the data collected and ends with some concluding notes with which a definition of the historical dynamics of the population on the Madonie is attempted.

APA, Harvard, Vancouver, ISO, and other styles

7

Agnoletti, Giacomo. "The Italian Dream. L’Italia e la (para)letteratura contemporanea per il mercato angloamericano." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/263716.

Full text

Abstract:

The overall success of the products related to Italy in the economy of the food sector and the one concerning “luxury” is well renowned, but I believe that, as years go by, even in the economy of the culture (or culture industry) there has been an ongoing process, a phenomenon of similar characteristics, namely: • The global spread of Italianness (‘Italianicity’ in Barthes’ terms) in mass culture, meant not only as a geographical setting of the works, but also as the presence of characters related to Italy, or as a narrative element, both principal and secondary, or in general as a cultural reference; • The appropriation of these topics, fascinations, characters, by the global cultural industry, managed mainly by American companies. The purpose behind this research is to document the phenomenon of diffusion of the Italian dream in the global culture, and investigate the causes through an analysis of the recent paraliterature. The beginning of the eighties has been defined as the “Italian rebirth” period. In those years, overcoming the negative stereotypes, the Italians have been able to redefine the image of themselves and of their country, providing a new and definitely positive connotation to the artifacts of their own economy, now proudly defined as Made in Italy. But how and why has this shift occurred? Not only Italy had changed, but even the United States needed something different. If there has been a radical change in the perception of Italy and Italianness in the USA and more generally in the Western world since the end of the 1970s, we must turn our attention to the countries that began looking at Italy with “different eyes”. Which needs did American culture consumers had and why did these needs change in the second half of the 1970s? If these new visions have grown to a global extent, if Italy has become the country of the dolce vita for the whole world, it is due, in large part, to a change in the attitude of foreign countries, the United States and Northern Europe in the first place, which began to perceive Italy as a desirable “The Other”: because, in countries culturally and geographically distant from Italy, a new awareness of their own cultural identity was rising with a new need for otherness. Due to this new articulation in the perception of the Italian spirit this research considers above all, the literary works published starting from the second half of the seventies. The highly successful literary works concerning Italy, written by American authors during the sixties, are completely different from those of the following decades, and not only for stylistic reasons. The vision of Italy, still very traditional, was fundamentally anchored to two aspects: Italy as a country of the Great Culture, and Italy as a country linked to the Catholic Church. Irving Stone and Morris West were two successful authors who wrote about Italianness by adopting this type of perception, and consequently satisfying a certain type of social function. It is true that Puzo published The Godfather in 1969: but it was perhaps the ability to anticipate a great change in the social needs of the audience that earned its author an incredible commercial success. Part II analyzes the social function of Italian-themed literature. The basic question is: “Why is the American reader interested in the idea of Italy?” I started explaining why a certain degree of activism, power of choice and influence on the cultural industry is attributable to the consumer. In this first part two texts from the early sixties based on the vision of Italy as a country of the Great Tradition will be analyzed; later on (Chapter 10) the “dream of saving authenticity” will be explored, starting from two texts of the nineties, the period in which the Italian dream began to spread globally. In the paragraph dedicated to the 2000s, we will observe that the fascination aroused by the Italian dream has now become so pervasive as to have originated a sort of pattern, a consolidated one in the mass literature. Following, a paragraph dedicated to three mainstream works, in order to highlight how much the Italian dream has globally spread even outside of the genre. Finally, in the last paragraph, I will deal with some of the recently published texts, to try to answer the question: Is the Italian dream still fashionable among consumers of global culture? Part III Before addressing the representation of stereotypes through texts, I will remind five great thinkers who have dealt with the theme of ideology in relation to mass culture. With Michail M. Bachtin I linger on the social and ideological component of every word and every speech; Ferruccio Rossi-Landi provides a research program for the unmasking of ideologies in art; Pierre Bourdieu analyzes the internal functioning of social structures related to art; Stuart Hall invites us to consider popular culture in its dual essence of conditioning by the field of power and of resisting and assimilating; Finally, Edward Said invites us to set the research in counterpoint terms, to understand how stories and cultures develop together with their geographical opposites. Chapter 12 illustrates the most important stereotypes about Italy through the use made of it in successful literary works. Even positive visions, if standardized, are to be considered stereotypes. The Italian identity, according to my perspective, is built socially and is so supranational that the same identity problems in reaction to cultural representations are felt, even amplified, in the worldwide Italian communities. Last chapter and conclusions deal with transculturation and with “most visible Italy”, to show how, in many cases, even “Italy told by Italians” is related with the construction of the national character originating from the global media system.

APA, Harvard, Vancouver, ISO, and other styles

8

Agnoletti, Giacomo. "The Italian Dream. L’Italia e la (para)letteratura contemporanea per il mercato angloamericano." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/263716.

Full text

Abstract:

The overall success of the products related to Italy in the economy of the food sector and the one concerning “luxury” is well renowned, but I believe that, as years go by, even in the economy of the culture (or culture industry) there has been an ongoing process, a phenomenon of similar characteristics, namely: • The global spread of Italianness (‘Italianicity’ in Barthes’ terms) in mass culture, meant not only as a geographical setting of the works, but also as the presence of characters related to Italy, or as a narrative element, both principal and secondary, or in general as a cultural reference; • The appropriation of these topics, fascinations, characters, by the global cultural industry, managed mainly by American companies. The purpose behind this research is to document the phenomenon of diffusion of the Italian dream in the global culture, and investigate the causes through an analysis of the recent paraliterature. The beginning of the eighties has been defined as the “Italian rebirth” period. In those years, overcoming the negative stereotypes, the Italians have been able to redefine the image of themselves and of their country, providing a new and definitely positive connotation to the artifacts of their own economy, now proudly defined as Made in Italy. But how and why has this shift occurred? Not only Italy had changed, but even the United States needed something different. If there has been a radical change in the perception of Italy and Italianness in the USA and more generally in the Western world since the end of the 1970s, we must turn our attention to the countries that began looking at Italy with “different eyes”. Which needs did American culture consumers had and why did these needs change in the second half of the 1970s? If these new visions have grown to a global extent, if Italy has become the country of the dolce vita for the whole world, it is due, in large part, to a change in the attitude of foreign countries, the United States and Northern Europe in the first place, which began to perceive Italy as a desirable “The Other”: because, in countries culturally and geographically distant from Italy, a new awareness of their own cultural identity was rising with a new need for otherness. Due to this new articulation in the perception of the Italian spirit this research considers above all, the literary works published starting from the second half of the seventies. The highly successful literary works concerning Italy, written by American authors during the sixties, are completely different from those of the following decades, and not only for stylistic reasons. The vision of Italy, still very traditional, was fundamentally anchored to two aspects: Italy as a country of the Great Culture, and Italy as a country linked to the Catholic Church. Irving Stone and Morris West were two successful authors who wrote about Italianness by adopting this type of perception, and consequently satisfying a certain type of social function. It is true that Puzo published The Godfather in 1969: but it was perhaps the ability to anticipate a great change in the social needs of the audience that earned its author an incredible commercial success. Part II analyzes the social function of Italian-themed literature. The basic question is: “Why is the American reader interested in the idea of Italy?” I started explaining why a certain degree of activism, power of choice and influence on the cultural industry is attributable to the consumer. In this first part two texts from the early sixties based on the vision of Italy as a country of the Great Tradition will be analyzed; later on (Chapter 10) the “dream of saving authenticity” will be explored, starting from two texts of the nineties, the period in which the Italian dream began to spread globally. In the paragraph dedicated to the 2000s, we will observe that the fascination aroused by the Italian dream has now become so pervasive as to have originated a sort of pattern, a consolidated one in the mass literature. Following, a paragraph dedicated to three mainstream works, in order to highlight how much the Italian dream has globally spread even outside of the genre. Finally, in the last paragraph, I will deal with some of the recently published texts, to try to answer the question: Is the Italian dream still fashionable among consumers of global culture? Part III Before addressing the representation of stereotypes through texts, I will remind five great thinkers who have dealt with the theme of ideology in relation to mass culture. With Michail M. Bachtin I linger on the social and ideological component of every word and every speech; Ferruccio Rossi-Landi provides a research program for the unmasking of ideologies in art; Pierre Bourdieu analyzes the internal functioning of social structures related to art; Stuart Hall invites us to consider popular culture in its dual essence of conditioning by the field of power and of resisting and assimilating; Finally, Edward Said invites us to set the research in counterpoint terms, to understand how stories and cultures develop together with their geographical opposites. Chapter 12 illustrates the most important stereotypes about Italy through the use made of it in successful literary works. Even positive visions, if standardized, are to be considered stereotypes. The Italian identity, according to my perspective, is built socially and is so supranational that the same identity problems in reaction to cultural representations are felt, even amplified, in the worldwide Italian communities. Last chapter and conclusions deal with transculturation and with “most visible Italy”, to show how, in many cases, even “Italy told by Italians” is related with the construction of the national character originating from the global media system.

APA, Harvard, Vancouver, ISO, and other styles

9

Almeida, Marcos Renato Holtz de [UNESP]. "As metamorfoses do diabo na modernidade: a secularização do mito e sua apropriação pela indústria cultural no século XX." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/106272.

Full text

Abstract:

Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-05Bitstream added on 2014-06-13T18:46:53Z : No. of bitstreams: 1 almeida_mrh_dr_arafcl.pdf: 12847945 bytes, checksum: 260df86be21476149e06ed05e4dd25a6 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A tese aborda as diferentes faces e fases destinadas à representação da figura do Diabo pela arte mediante o devir sócio-histórico-cultural do ocidente desde a Idade Média até a modernidade. Assim, a produção artística de bens simbólicos sobre o Diabo adquiriu diversos contornos desde os séculos finais da Idade Média e, mediante o devir histórico, vivenciou sua transformação e reprodução em mercadoria no século XX. Tomando por base esse cenário, por meio da ação da Indústria Cultural, o imaginário existente sobre o Diabo passou a ser utilizado pela indústria do entretenimento e pela sociedade de consumo como mercadoria capaz de satisfazer os gostos das sociedades e das culturas contemporâneas. O símbolo mítico do mal perdeu sua função religiosa e tornou-se um instrumento a serviço da ideologia capitalista.
The thesis aboards the different faces and phases destined to the representation of the figure of the Devil by art through the social, historical and cultural transformation of western society in the modernity. Thus, the artistic production of symbolic goods about Devil acquired many contours since the final centuries of the Middle Ages and, through the historical process, lived his transformation and reproduction in commodity in the XXth century. Based on this scenario, through the action of the Industry of Culture, the imaginary existent about Devil started being utilized by the industry of entertainment and by the society of consumption as commodity able to satisfy the taste of the society and culture contemporary. The mythical symbol of evil lost its religious function and became an instrument at the service of the capitalist ideology.

APA, Harvard, Vancouver, ISO, and other styles

10

BUZZI, MAURO. "La canzone pop e il cinema italiano (1958-1963. Forme, gene ri, processi di trasformazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1531.

Full text

Abstract:

La tesi si occupa di indagare il campo della popular music italiana durante il periodo del boom, così come della situazione cinematografica nazionale del periodo. In seguito si analizzano le forme di utilizzo della prima all'interno del secondo, soprattutto nei confronti di due oggetti che nel rapporto prendono corpo: 1 - Il musicarello, che si configura come vero e proprio genere e di cui si vedranno caratteri principali e genesi 2 - L'insieme di film che fanno della canzone un uso significativo, ma non per questo si costituiscono come genere, o come corpo coeso. In comune hanno però una particolare configurazione di stile, che si costituisce appunto attorno al loro uso della canzone, e che si confronta con la questione della presenza di un "film medio" nazionale.
In Italy, between the end of the Fifties and the first half of the Sixties, a phenomenon of deep economic growth changes the nation in many ways. In the same period the first generation of young people starts to be known as such. With it followed the consideration of consumption as an opportunity for an aggregate and generational claim, pushing film, record, magazine and clothing producers to think of objects conforming to this desire, or even making it stronger. Medial consumption is one of the key practices that permitted to express a social and individual identity. The Thesis try to find out how an important medium like popular music, match himself with cinema, and what kind of new linguistic solution, and social practice they build together.

APA, Harvard, Vancouver, ISO, and other styles

11

BUZZI, MAURO. "La canzone pop e il cinema italiano (1958-1963. Forme, gene ri, processi di trasformazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1531.

Full text

Abstract:

La tesi si occupa di indagare il campo della popular music italiana durante il periodo del boom, così come della situazione cinematografica nazionale del periodo. In seguito si analizzano le forme di utilizzo della prima all'interno del secondo, soprattutto nei confronti di due oggetti che nel rapporto prendono corpo: 1 - Il musicarello, che si configura come vero e proprio genere e di cui si vedranno caratteri principali e genesi 2 - L'insieme di film che fanno della canzone un uso significativo, ma non per questo si costituiscono come genere, o come corpo coeso. In comune hanno però una particolare configurazione di stile, che si costituisce appunto attorno al loro uso della canzone, e che si confronta con la questione della presenza di un "film medio" nazionale.
In Italy, between the end of the Fifties and the first half of the Sixties, a phenomenon of deep economic growth changes the nation in many ways. In the same period the first generation of young people starts to be known as such. With it followed the consideration of consumption as an opportunity for an aggregate and generational claim, pushing film, record, magazine and clothing producers to think of objects conforming to this desire, or even making it stronger. Medial consumption is one of the key practices that permitted to express a social and individual identity. The Thesis try to find out how an important medium like popular music, match himself with cinema, and what kind of new linguistic solution, and social practice they build together.

APA, Harvard, Vancouver, ISO, and other styles

12

Brown, Adam. "Democratising popular culture : comparing and contrasting some cultural industries." Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240742.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Gaye, Abdoulaye. "Valorisation du patrimoine industriel de la ville de Rufisque, sauvegarde et transmission: quel impact sur le développement local?: le cas de l' ex usine." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/20751.

Full text

Abstract:

(INTRODUÇÂO) Le choix d'un sujet du mémoire n'est jamais anodin.Entreprendre cette proposition de recherche sur la valorisation du patrimoine industriel de la ville de Rufisque, sauvegarde et transmission : quel impact sur le développement local et portant sur le cas spécifique de l’ex manufacture Bata constitue un défit et une fierté. D’abord en tant que natif de cette ville tricentenaire qui porte toujours les vestiges de la préhistoire, et dont les habitants étaient considérés comme des citoyens Français (à l’opposé des indigènes)1, ensuite parce que le patrimoine industriel n’est pas très bien connu au Sénégal et enfin l’intérêt historique et son importance socioculturel et économique sur le développement local. Quand les sciences sociales parlent de patrimoine industriel, elles évoquent point un «fonds de commerce», mais un héritage, une mémoire, les traces d'un passé industriel révolu. Une ouverture croissante des entreprises en état d'activité à la réflexion sur elles-mêmes conduit du reste certaines d'entre elles, depuis peu, à créer le lien nécessaire entre ces deux concepts, économique et culturel, en réévaluant l'histoire de l'entreprise comme un des articles de son bilan, et en lui prêtant désormais l'attention que mérite une ressource «morale» où puiser à la fois pour résoudre des problèmes de gestion et pour conforter l'image interne et externe de l’entreprise2. Le patrimoine historique de l'industrie, concrètement, ce sont lestraces, plus ou moins bien préservées, de son fonctionnement et de son insertion dans le paysage ou dans la société.Les archives d'entreprises, les murs des usines, les débris des infrastructures ou de l'outillage, les collections de produits (ne serait-ce que sur catalogue), l'impact sur l'environnement, la mémoire des dernières générations de patrons ou de salariés: autant d'éléments matériels ou de souvenirs (immatériel) dont il est de mieux en mieux admis aujourd'hui qu'on ne saurait se passer pour écrire l'histoire de l'industrie, une histoire inscrite non seulement dans les statistiques, les enquêtes, les comptabilités, mais aussi dans l'espace en trois dimensions, dans la vision d'une population, dans des vies quotidiennes

APA, Harvard, Vancouver, ISO, and other styles

14

Collura, Salvatore. "Malandros e Malandragem : Noel Rosa." Universidade Federal do Espírito Santo, 2011. http://repositorio.ufes.br/handle/10/6452.

Full text

Abstract:

Made available in DSpace on 2016-12-23T14:34:15Z (GMT). No. of bitstreams: 1 Dissertacao de Salvatore Collura.pdf: 2239132 bytes, checksum: 52a88d342611eef438faec70ef1b82c3 (MD5) Previous issue date: 2011-11-30
Analizza la figura del malandrino dal punto di vista del personaggio e del suo llinguaggio nella produzione del compositore Noel Rosa, mettendo in evidenza le caratteristiche e le peculiarità del discorso noelino, così come le innovazioni da lui introdotte nell ambito della canzone popolare brasiliana, risultanti dalla coniugazione di vari fattori: musicale, tematico, linguistico e poetico. Contestualizza la figura del malandrino, esposta a cambiamenti significanti tra la fine del secolo XIX e i primi tre decenni del XX secolo, concentrando l analisi sul periodo di Noel Rosa e Getúlio Vargas. Sotto la luce della tematica del malandrino e del malandrinaggio, conduce un panorama storico, sociale, politico e culturale del periodo in analisi, osservando la diverse relazioni di Noel Rosa com il malandrino e il malandrinaggio. Discute i cambiamenti di prospettiva che Noel, cronista di Vila Isabel, propose riguardo la visione del malandrino: egli percepì che in una società in fase di grandi trasformazioni qual era Rio de Janeiro in quell epoca, l associazione dell immagine del malandrino dal coltello in tasca con il mondo del samba, poteva costituire un pericolo per il progresso della carriera artistica dei nuovi compositori
Analisa a figura do malandro, enquanto personagem e enquanto linguagem, na produção do compositor Noel Rosa, evidenciando as características e as peculiaridades do discurso noelino, bem como as inovações introduzidas por ele no âmbito da canção popular brasileira, que resultam da conjugação de vários fatores: musical, temático, linguístico e poético. Contextualiza a figura do malandro, que vivencia significantes modificações entre o final do século XIX e as primeiras três décadas do século XX, trazendo a discussão até o período de Noel e de Getúlio Vargas. Sob a luz da temática do malandro e da malandragem, atenta para um panorama histórico, social, político e cultural do período estudado, observando a relação multifacetada de Noel Rosa com o malandro e a malandragem. Diz respeito a uma mudança de perspectiva que Noel, cronista da Vila Isabel, propôs sobre a visão do malandro: ele percebeu que em uma sociedade em fase de grandes transformações assim como era o Rio de Janeiro daquela época a imagem do malandro de navalha no bolso, ligada ao mundo do samba, podia representar um perigo para o progresso da carreira artística dos novos compositores

APA, Harvard, Vancouver, ISO, and other styles

15

Bolano, Cesar Ricardo Siqueira. "Capital, Estado, industria cultural." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285404.

Full text

Abstract:

Orientador: João Manuel Cardoso de Mello
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Economia
Made available in DSpace on 2018-07-18T07:09:12Z (GMT). No. of bitstreams: 1 Bolano_CesarRicardoSiqueira_D.pdf: 12377235 bytes, checksum: 1c81fb727f76acdae77c7b5540f5126f (MD5) Previous issue date: 1993
Resumo: Não informado
Abstract: Not informed.
Doutorado
Doutor em Economia

APA, Harvard, Vancouver, ISO, and other styles

16

Selby, Shawn M. "Congress, Culture and Capitalism: Congressional Hearings into Cultural Regulation, 1953-1967." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212766295.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Pagotto, Giorgia <1988&gt. "Le industrie culturali e creative: la cultura come fattore di ripresa economica." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3682.

Full text

Abstract:

La tesi, dopo un'ampia rassegna del dibattito teorico sul ruolo delle industrie culturali e creative nello sviluppo economico, presenta un confronto della situazione del settore in Italia e nei principali Paesi avanzati. Vengono analizzati gli effetti del settore sull'economia, con particolare riferimento al superamento della crisi. Il lavoro si completa con una verifica empirica sugli effetti di alcune iniziative culturali intraprese nell'ambito della regione Veneto.

APA, Harvard, Vancouver, ISO, and other styles

18

White, David Gaylord Jr. "Dunctionally embodied culture| Cultural schemas and models in a diversified industrial manufacturer." Thesis, Fielding Graduate University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3746293.

Full text

Abstract:

Organizational culture is in need of new paradigms. As an ontological category it is flawed because the lack of academic consensus on what culture is tends to render it inadequate as an explanatory framework. As a field of praxis managers and practitioners tend to oversimplify culture, reducing it to one or two variables such as idealized norms or values, or as personality-writ-large. This leads to failed organizational culture change efforts, usually at great cost and effort as organizations fail to adapt beyond surface effects. Against these notions a new paradigm for organizational culture is proposed. Cognitive science, specifically embodied and situated cognition, analogically based reasoning, and cultural schemas provide a robust way to conceptualize and investigate culture. It is proposed culture is loosely but distinctively ecologically determined, underwritten by human cognition grounded in the functional, technological, and social forces inherent in work, and the production of meaning related to work. This paper advances a theory of culture as shared cognitive models by which groups derive meaning and organize sensemaking. Under the right conditions such models may make up the organization’s dominant culture. This dissertation provides theory and research describing a so-called functionally embodied organizational culture framework. It investigates the shared schemas and cultural models of the executive team of a global, diversified Fortune 1000 manufacturer. Preliminary support for functional grounding is seen: Schemas rooted in the strategic task environment of manufacturing make up the cultural models for people leadership and business management, lending preliminary support to functionally grounded culture. Implications for current theory and practice are discussed, along with avenues for future research. One implication is that popular approaches to culture and change utilizing top-down, espoused, and idealized norms and values may not be sufficient to dislodge prevailing shared cognitions rooted in dominant professional orientations or strategic context.

APA, Harvard, Vancouver, ISO, and other styles

19

Cavaleri, Giuseppe. "Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.

Full text

Abstract:

Nous pouvons appréhender le Cinéma comme un vecteur culturel capable de cristalliser les us et coutumes d’une société, ou comme un outil susceptible d’en manifester les aspirations. L’industrie cinématographique italienne demeure parmi celles qui ont su imposer dans l'imaginaire des publics des œuvres venues aussitôt enrichir le patrimoine culturel mondial. De nos jours, sa présence internationale est plus modérée, et le rayonnement de ses œuvres ne dépasse que rarement les limites nationales. Les quelques auteurs tels que Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ont su gagner une visibilité désormais incontestable, leur permettant de devenir le symbole d’un cinéma italien contemporain renaissant. Les contenus de leurs filmographies sont le résultat de formes cinématographiques tout aussi riches que variées, et leur influence semble capable de modifier et de mettre à jour l’imaginaire des passionnés de culture italienne. Nos travaux veulent étudier et comprendre l’impact de leurs œuvres au sein d’un pays comme la France. À travers une étude qui se veut historique, sociologique et économique, nous analysons la représentation du réel dans l’histoire du cinéma transalpin, un idéal intellectuel qui semble intéresser particulièrement les publics français. Puis nous nous consacrons aux contenus de nos trois filmographies de référence, pour en extrapoler les données socio-politico-économiques. L’étude de l’impact de ces œuvres sur les critiques cinématographiques français conclut ces travaux, qui se penchent également sur la distribution et l’exploitation de ce cinéma, présent non seulement dans les salles de l'Hexagone, mais diffusé parallèlement au sein de nombreux festivals
One may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival

APA, Harvard, Vancouver, ISO, and other styles

20

Ramos, Luciano Sousa [UNESP]. "Ideologia e desindividuação nas veredas da Halbbildung: um entendimento básico ao fenômeno da indústria cultural." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/91794.

Full text

Abstract:

Made available in DSpace on 2014-06-11T19:25:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-04-03Bitstream added on 2014-06-13T18:28:52Z : No. of bitstreams: 1 ramos_ls_me_mar.pdf: 439165 bytes, checksum: 1fde78ae2fb2931fad778c7cdff8ffec (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Na intenção de um estudo detalhado sobre a crítica realizada pelos pensadores da Escola de Frankfurt ao fenômeno da cultura atual, denominada por eles de indústria cultural, encontramos alguns temas, os quais estão profundamente relacionados à crise cultural da modernidade e que são indispensáveis ao seu entendimento. Tais temas são, a saber: a crise da razão no capitalismo monopolista e a questão da ideologia da sociedade tecnológica que segundo Adorno possui grandes diferenças em relação ao conceito de ideologia marxista, a principal delas a questão da identidade entre ideologia e realidade.
In the intention of a study detailed on the critical one carried throught for the thinkers of the Frankfurt School to the phenomenon of the current culture, called for them of cultural industry, we find some subjects, which deeply are related to the cultural crisis of modernity and that they are indispensable to its agreement. Such subjects are, namely: the crisis of the reason in the monopolist capitalism and the question of the ideology of the technological society that as Adorno possess great differences in relation to the concept of Marxist ideology, main of them the question of the identity between ideology e reality.

APA, Harvard, Vancouver, ISO, and other styles

21

Aguiar, Joaquim Alves de. "Musica popular e industria cultural." [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269567.

Full text

Abstract:

Orientador: Maria Lucia Dal Farra
Dissertação (mestrado) - Universidade Estadual de Campinas , Instituto de Estudos da Linguagem
Made available in DSpace on 2018-07-14T00:47:49Z (GMT). No. of bitstreams: 1 Aguiar_JoaquimAlvesde_M.pdf: 6481321 bytes, checksum: 99155c4c36c077f2bf9578d1057d245c (MD5) Previous issue date: 1989
Resumo: Esta dissertação trata de questões relacionadas com a indústria cultural, o horizonte no qual inscrevi a trajetória da moderna canção brasileira. Ela contém por idéias básicas: 1. A implantação de uma sociedade de consumo relaciona-se com a implantação da indústria cultural no Brasil. É nesse contexto que se forma a moderna música popular brasileira, através de gravações em discos e emissões radiofônicas. 2. Um importante momento econômico, político e cultural relaciona-se com as mais estimulantes manifestações em termos de MPB: a Bossa Nova, a Canção de Protesto, o Tropicalismo e, em tom menor, a Jovem Guarda. É a época em que a MPB se torna importante veículo catalisador das questões culturais e políticas que animaram o período, saltando à vista do debate entre o "nacional" e o "estrangeirado". 3. O esvaziamento das questões do período anterior, mais o esgotamento de toda uma geração abrem caminho para o salto de internacionalização dado pela MPB. O ponto culminante desses processo tem sido o rock, configurado como grande tendência musical dos anos 80. Modernizando-se (sem contudo perder a marca periférica), a MPB deixa de ocupar o fórum de debates que ocupava há duas décadas, gerando o vazio e o mal-estar, visíveis no meio dos novos artistas e no seio da própria mensagem musical. Esta situação acaba por refletir o sintoma geral do país, num momento de crise e de desencanto quanto às promessas de um Brasil menlhor
Abstract: Not informed.
Mestrado
Teoria Literaria
Mestre em Letras

APA, Harvard, Vancouver, ISO, and other styles

22

Luca, Mariavittoria <1991&gt. ""Cultural and Creative Industries: the Role of Culture in the Economy"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10068.

Full text

Abstract:

In the first chapter I will discuss the cultural industry making an historical overview, classification and analysis concerning the measurement methods related to it. In the second chapter I will speak about the cultural attractors (museums, theaters) and how these drivers create new jobs. In the third chapter instead I will consider the relationship between the creative and traditional industries. The final chapter will be about the policy and the access to finance for the cultural and creative sectors.

APA, Harvard, Vancouver, ISO, and other styles

23

Peralta, Lladó Ariadna. "La novel·la catalana de 1965 a 1983: una anàlisi sociològica multinivell de la innovació cultural." Doctoral thesis, Universitat de Barcelona, 2022. http://hdl.handle.net/10803/674037.

Full text

Abstract:

La tesis se propone analizar desde una perspectiva multinivel la innovación novelística del espacio literario catalán de 1965 a 1983. A partir de una metodología principalmente documental, se investiga cómo los cambios institucionales en las editoriales; los cambios relacionales en los intercambios de legitimación entre críticos y autores; y los cambios en las trayectorias profesionales de esos dos agentes condicionan los cambios novelísticos.

APA, Harvard, Vancouver, ISO, and other styles

24

Pinotti, Baldrich José Luis. "Aproximación a un modelo de gestión cultural territorial. El SARC." Doctoral thesis, Universitat Politècnica de València, 2020. http://hdl.handle.net/10251/137775.

Full text

Abstract:

[ES] La gestión cultural aplicada a un territorio específico. Esta frase circunscribiría el desarrollo temático de la tesis. Cómo intervenir para que el sector cultural que históricamente ha sido productivo en lo social, lo sea también en lo económico, potenciando y apoyando a la industria cultural. Todo ello desarrollando políticas públicas, infraestructuras culturales públicas y potenciando los recursos humanos especializados.
[CAT] La gestió cultural aplicada a un territori específic. Aquesta frase circumscriuria el desenvolupament temètic de la tesi. Com intervindre perquè el sector cultural que históricament ha sigut productiu en el fet social, ho siga també en l'econòmic, tot potenciant i donant suport a la indústria cultural. Tot això amb el desenvolupament de polítiques públiques, infraestructures culturals públiques i amb la potenciació de recursos humans especialitzats.
[EN] Cultural Management applied to an specific territory. This sentence would circumscribe the thematic development of the present thesis. How to arbitrate so that the cultural that has historically been productive in a social way, could become also an economical way, empowering and supporting the culture industry. All this developing public policies, public cultural infrastructures and enhancing specialized human resources.
Pinotti Baldrich, JL. (2020). Aproximación a un modelo de gestión cultural territorial. El SARC [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/137775
TESIS

APA, Harvard, Vancouver, ISO, and other styles

25

Tonkelski, Camila Cararo. "O consumo de bens culturais na era da internet: práticas e usos da cultura entre estudantes do ensino médio em Realeza/ PR." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3271.

Full text

Abstract:

Submitted by Marilene Donadel (marilene.donadel@unioeste.br) on 2018-01-26T18:23:50Z No. of bitstreams: 1 Camila_Tonkelski_2017.pdf: 1708089 bytes, checksum: fd899847de29c20c65bdefdf2a2cf749 (MD5)
Made available in DSpace on 2018-01-26T18:23:50Z (GMT). No. of bitstreams: 1 Camila_Tonkelski_2017.pdf: 1708089 bytes, checksum: fd899847de29c20c65bdefdf2a2cf749 (MD5) Previous issue date: 2017-09-19
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The dissertation has the propose to understand that way the young relation it with certain symbolic goods at a time when they are enjoyed in large extent with the resource of digital devices and by means of the Internet. The research was realized between the young students of high school in Realeza/PR. The objective is to identify differences in methods of cultural enjoyment, offered by those technologies, between young of distinct social, economic, and cultural conditions. It is seeking to analyze the young choose the activities, products and information that on this network.
A dissertação tem como propósito compreender de que modo os jovens se relacionam com determinados bens simbólicos em uma época em que estes são usufruídos em grande medida com o recurso de aparelhos digitais e por meio da Internet. A pesquisa foi realizada entre os jovens estudantes de ensino médio de Realeza/PR. O objetivo é identificar diferenças nas formas de fruição cultural, propiciadas por aquelas tecnologias, entre jovens de condições socioeconômicas e culturais distintas. Busca-se analisar de que modo os jovens atuam na escolha de atividades, produtos e informações que circulam na rede.

APA, Harvard, Vancouver, ISO, and other styles

26

Hernández, Meneses Diego Eduardo. "Identidad en tensión: vínculos entre jóvenes adultos y marcas culturales. Caso “Centro cultural Cine Olaya." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/655983.

Full text

Abstract:

Consumo e Identidad son conceptos que han sido ampliamente estudiados desde las ciencias sociales para entender las razones -e impulsos- por las que el consumidor piensa y actúa. Esta información ha sido aplicada por la publicidad y el marketing para crear estrategias y campañas que generen vínculos relevantes con sus audiencias; sin embargo, el consumidor está en constante cambio y nuevas miradasson necesarias. Este artículo busca profundizar en la naturaleza humana del consumidor enfocada en el adulto joven, pero desde otro sector: la industria cultural. Para ello se toma el caso del Centro Cultural Cine Olaya (CCCO) que se caracteriza por proponer y difundir productos de gran versatilidad y con mensajes cargados de simbolismos y discursos sociales. Todo esto expone al consumidor a una lógica de consumo en constante tensión; la misma que este artículo analiza desde tres dimensiones: (1) las razones que impulsan la compra, (2) el rol identitario que ejerce el consumidor y (3) las maneras de relacionarse con sus pares. Esta investigación fue abordada con el diseño de estudio de caso desde un enfoque cualitativo, a través de entrevistas a profundidad con cuestionarios semiestructurados. La selección de participantes fue de carácter intencional y a través de la técnica de Bola de nieve. En la la entrevista N” 15 se llegó a la saturación teórica. Se concluye que la construcción de la identidad se encuentra en una constante tensión debido a la riqueza simbólica y la versatilidad que ofrece el consumo en los eventos culturales del CCCO.
Consumption and identity are concepts that have been largely studied among the social sciences to understand the reasons -and impulses- in which consumers base their thinking and behavior. This information has been applied by advertising and marketing for creating strategies and campaigns that build relevant bonds with their audiences. However, consumers are in constant change and new perspectives are always needed. This academic paper seeks to deepen the human nature of consumers addressing young adults, but from another field: the cultural industry. To this effect, this research takes the Centro Cultural Cine Olaya as the case study. This cultural space stands out for proposing and promoting high-versatility products full of symbolisms and social discourses. All of this exposes the consumer young adult to a logic of consumption in constant tension whom this article analyzes since three dimensions: (1) reasons of purchase, (2) identity role practiced by the consumer, and (3) ways of relationship with themselves and their peers. This research was designed as a case study from a qualitative perspective. In-depth interviews were used with semi-structured questionnaires. Participants were intentionally selected in the beginning and then the technique Snowball was used. Theoretical saturation was reached in the 15th interview. It is concluded that the construction of identity is in constant tension due to the symbolic richness and versatility that consumption offers in the cultural events of the CCCO.
Tesis

APA, Harvard, Vancouver, ISO, and other styles

27

Dezen-Kempter, Eloisa 1963. "O lugar do patrimônio industrial." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280239.

Full text

Abstract:

Orientador: Cristina Meneguello
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T16:05:07Z (GMT). No. of bitstreams: 1 Dezen-Kempter_Eloisa_D.pdf: 164682504 bytes, checksum: 45359ebfd95e45ff21c82b6d279295a2 (MD5) Previous issue date: 2011
Resumo: Os efeitos do processo de desindustrialização e de reestruturação econômica, intensificados na década de 1990, atingiram grandes complexos fabris estabelecidos nos séculos XIX e XX, os quais foram grandes motores econômicos e os principais indutores da urbanização dos lugares. Esses sítios industriais imprimiram, de modo inconfundível, caráter e identidade espacial, organizando a dinâmica urbana e as relações sociais. Sua desativação torna o território, antes ocupado pelas atividades industriais, obsoleto e vulnerável a um processo de reestruturação e incorporação resultante das novas atividades urbanas que demandam uma nova espacialidade, colocando sua permanência em risco. Considerando-se, assim, que o ambiente urbano encontra-se em rápida e fundamental transformação, esta tese pretende, por meio de análise e comparação da trajetória de cinco indústrias têxteis nos estados de São Paulo e Rio de Janeiro, contribuir para revelar a potencialidade e a singularidade do "lugar" industrial na produção do espaço urbano contemporâneo. As edificações industriais analisadas foram selecionadas em função da sua representatividade técnica e arquitetônica e por se apresentarem como elemento ordenador do espaço urbano. No estado de São Paulo foram analisadas a Fábrica São Luis (1869), em Itu; a Enrico Dell'Acqua e Cia. (1892), em São Roque; a Brasital (1875), em Salto; e na cidade do Rio de Janeiro, a Cia. América Fabril (1878) e a Fábrica Bangu (1893). Procedeu-se para tanto a uma análise do desenvolvimento industrial nesses dois estados, focalizando o papel das edificações e complexos industriais na configuração de um tipo arquitetônico e comparando os encaminhamentos das estratégias de preservação do lugar industrial como parte do patrimônio cultural, em um processo de valoração de sua diversidade formal, de uso e escala, e como testemunho e referência histórica, tecnológica e social. Com base na análise das edificações industriais, pautada em sua reconstituição histórica a partir de fontes documentais diversas - documentos empresariais, o projeto arquitetônico, publicações, cartografia, levantamento de campo e vistas aos processos de tombamento - tornou-se possível uma visão abrangente de sua complexidade. Paralelamente, foi abordada a emergência da valorização do patrimônio industrial nos órgãos de preservação por meio do levantamento dos bens tombados pelo IPHAN e do estudo comparativo do tombamento de duas fábricas, com o intuito de identificar procedimentos específicos para áreas industriais de interesse cultural. Verificou-se que, com o abandono e o desuso, essas edificações industriais, portadoras de expressões culturais e sociais, foram adequadas a novas demandas urbanas, e que o processo de reabilitação constituiu ação importante para o seu reconhecimento e valoração
Abstract: The effects of the deindustrialization and economic restructuring, intensified uring the 1990's, reaching large manufacturing complexes established in he XIX and XX centuries, which were the economic drivers and the main ttractors of urban development in that location. These industrial sites imprinted, in an unique manner, spatial character and identity, organizing the urban dynamics and the social relations. Its deactivation changes the territory, beforehand occupied with industrial activities, into obsolete and vulnerable to restructuring and incorporation process as a result of new urban activities that demand new spatial presence, putting in danger its existence. Considering then, that the urban environment is transforming rapidly and fundamentally, this thesis intends to, by analysis and comparison of the history of five textile factories in the states of Sao Paulo and Rio de Janeiro, contribute in unveiling the potential and singularity of the industrial "place" in producing contemporary urban areas. The industrial buildings analyzed were selected due to their technical and architectural importance as well as the element that directed the urban development in that area. In the Sao Paulo state were analyzed the Sao Luis Factory (1869) in Itu, the Enrico Dell'Acqua and Co (1892), in Sao Roque, the Brasital (1875) in Salto, and in the city of Rio de Janeiro, the Cia America Fabril (1878) and the Bangu Factory (1893). In order to do that, it was analyzed the industrial development in the two states, focusing in the role the industrial complexes and its edificial structures in configuring an architectural type and comparing the industrial area preservation strategies part of the cultural landscape, in a process of praising its form, use and scale diversity, as well as a witness and reference of historical, technological and social importance. Based on the analysis of the industrial edifications, focused in recreating the historical context through a myriad of information sources - corporate documents, architectural blueprints, publications, cartography, field visits and review of the process of selection criteria to list a building- it was possible to established a broad perspective of its complexity. In parallel, it was analyzed the emerging need to value the industrial patrimony in the Brazilian preservationist practice by identifying the listed buildings by IPHAN and by comparing the parameters of selection that purposed the preservation of two factories, aiming at identifying the specific procedures for industrial areas of cultural interest. It was verified that, with the disuse and abandonment, these industrial sites, as material support of cultural and social expressions, were adjusted to the new urban demands, in which the rehabilitation process plays an important role in a pratical preservationist, promoting its monumental value and acknowledgment
Doutorado
Politica, Memoria e Cidade
Doutor em História

APA, Harvard, Vancouver, ISO, and other styles

28

Ali, Ahmad Bilal. "Économie créative, spécialisation internationale et tourisme." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20035/document.

Full text

Abstract:

L’émergence du nouveau concept de l’économie créative, qui constitue désormais une part importante dans les flux d’échanges commerciaux à l’échelle internationale, a profité à de nombreux pays de tous les niveaux économiques. L’essor des industries créatives a fortement influencé la production par la formation de clusters de compétitivité. Cette situation se révèle être favorable au développement et à la diversification des biens et des services créatifs notamment pour les petites et moyennes entreprises. L’économie créative peut être expliquée par les théories de la spécialisation internationale en particulier du point de vue des échanges de services et du tourisme. Ainsi, le développement des industries créatives constitue une véritable opportunité de spécialisation internationale touristique basée sur un processus d’innovation culturelle et soutenue par une transformation de la demande touristique. Cette innovation, fondée sur la créativité, engendre une forte valeur ajoutée pour les biens et les services créatifs, ainsi que des avantages absolus qui ouvrent une nouvelle voie de développement pour les pays les moins avancés, pour conquérir les marchés d’exportation et réduire la pauvreté
The emergence of the new concept of the creative economy, which is now an important part of international trade flows, has benefited countries of all economic levels. The rise of creative industries has strongly influenced production through the formation of competitiveness clusters. This situation is proving to be conducive to the development and diversification of creative goods and services, particularly for small and medium firms. The creative economy can be explained by theories of international specialization in particular from the point of view of services trade and tourism. Thus, the development of these creative industries constitutes a genuine opportunity for international tourism specialization based on a process of cultural innovation and sustained by a transformation of tourism demand. This innovation, based on creativity, creates high added value for creative goods and services as well as absolute advantages, which opens up a new development path for the least developed countries to conquer export markets and reduce poverty

APA, Harvard, Vancouver, ISO, and other styles

29

Lefevre, Bruno. "Entrepreneurs musicaux et territoires : Les clusters culturels sous l'emprise des politiques publiques et des acteurs locaux." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCD093/document.

Full text

Abstract:

Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux
Since the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up

APA, Harvard, Vancouver, ISO, and other styles

30

Chinappi, Franco. "Character culture : the cultural bargain between ownership and appropriation." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33884.

Full text

Abstract:

This thesis is about the cultural bargain; the balancing relationship between author monopoly and user affect desires, as applying to the ambiguity of characters. Character culture is a hybrid of the characters that are created and sold by authors with artistic and legal concerns, and the character-affect-relationship of the audience users of those characters. This study examines the law and industry practices in the United States and Canada as it relates to character and the limited scope of the law in defining just what exactly a character is. Also, I examine the major issues in the cultural bargain between the ownership of characters of authors, and the appropriation of characters by audiences, through the dominate arguments for both authors and audiences and the issue of privileged accessibility to characters. By "appropriate", I am referring to any act of an audience member, utilizing a character they do not own, in new ways, that the original author of the character did not give permission for, or approve. Finally, I present my analysis of how the cultural bargain may experience a balance between both authors and audience, by defining characters using the audience affect interpretation as criteria.

APA, Harvard, Vancouver, ISO, and other styles

31

Escudero, Nelli, Julie Freundt, Sylvia Falcón, and Harry Orsos. "Somos creativos, seámoslo siempre." Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656945.

Full text

Abstract:

Nelli Escudero (Perú) - Moderadora / Julie Freundt (Perú) - Panelista / Sylvia Falcón (Perú) - Panelista / Harry Orsos (Perú) - Panelista
Conversatorio que tocará los temas de industrias culturales y el trabajo de ASICREA por el Bicentenario.

APA, Harvard, Vancouver, ISO, and other styles

32

Roriz, Priscilla Carvalho de Oliveira. "O trabalho do artesão e suas interfaces culturais-econômicas." reponame:Repositório Institucional da UnB, 2010. http://repositorio.unb.br/handle/10482/7663.

Full text

Abstract:

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Curso de Pós-Graduação em Psicologia Social, do Trabalho e das Organizações, 2010.
Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2011-05-10T18:44:46Z No. of bitstreams: 1 2010_PRISCILLACARVALHO.pdf: 1054740 bytes, checksum: 8181c9bf65c10b4e7520bd8c548a8594 (MD5)
Approved for entry into archive by Raquel Viana(tempestade_b@hotmail.com) on 2011-05-10T19:42:57Z (GMT) No. of bitstreams: 1 2010_PRISCILLACARVALHO.pdf: 1054740 bytes, checksum: 8181c9bf65c10b4e7520bd8c548a8594 (MD5)
Made available in DSpace on 2011-05-10T19:42:57Z (GMT). No. of bitstreams: 1 2010_PRISCILLACARVALHO.pdf: 1054740 bytes, checksum: 8181c9bf65c10b4e7520bd8c548a8594 (MD5)
Esta pesquisa procurou trazer uma contribuição para o estudo sobre o trabalho do artesão e suas interfaces culturais-econômicas, a partir do cruzamento de fronteiras entre a Psicologia Social e do Trabalho, as Ciências Sociais e a Economia da Cultura. O principal objetivo foi identificar significados e sentidos atribuídos ao trabalho, crenças, práticas e comportamentos de artesãos frente ao artesanato em diferentes comunidades brasileiras. Foram ouvidos diretamente artesãos das comunidades de fiandeiras e tecelãs de Sagarana, na região do Vale do Rio Urucuia, em Minas Gerais, ceramistas do bairro Poti Velho da capital piauiense e rendeiras de Ilha Grande, no Piauí. A análise dos dados seguiu os procedimentos da análise de conteúdo clássica, organizando o material a partir de categorias temáticas (Bardin, 2009). Os resultados apontam para a desvalorização do artesanato em contraposição ao “emprego”, devido à baixa remuneração, a impossibilidade de obter um “salário fixo”, a falta de seguridade social e o estigma de status inferior com que tem sido visto em relação a outros trabalhos, chegando por vezes a não ser considerado uma profissão. Entretanto, muitos trabalhadores revelaram que, mesmo que obtenham outro trabalho ou emprego, gostariam de permanecer concomitantemente no artesanato, principalmente pela importância da cultura e tradição, da autonomia e pelo prazer de executar o seu ofício, o que mostra que o artesanato representa muito mais do que uma fonte financeira para esses artesãos. Os achados mostram, ainda, a importância do controle exercido sobre o trabalho, da capacitação, da escolarização, do saber-fazer e do reconhecimento para os trabalhadores. _______________________________________________________________________________________ ABSTRACT
The purpose of this research was to contribute to the study of the work of artisans and its cultural and economic interfaces, drawing on the linkages between Social and Work Psychology, Social Sciences, and the Economics of Culture. The main aim was to identify the meaning and sense attributed to their work, the beliefs, the practices, and the behavior of artisans towards handicraft in different Brazilian communities. Artisans from communities of spinners and weavers from Sagarana, in the Vale do Rio Urucuia region, in Minas Gerais, potters from the Poti Velho neighborhood in the capital of the state of Piauí, and lacemakers from Ilha Grande, in Piauí, were interviewed. The analysis of the data followed the procedures of classical content analysis, organizing the material into thematic categories (Bardin, 2009). The results show a devaluation of handicraft relative to “employment”, given the low pay, the impossibility of having a “fixed salary”, the lack of social security, and the stigma of inferior status with which it is seen in comparison with others jobs, sometimes not even being regarded as a profession. However, many workers revealed that, even if they found another kind of work or a job, they would still like to continue working with handicraft, especially for the importance of the culture and tradition, the autonomy and the pleasure of carrying out their trade, which shows that handicraft represents much more than a source of income for these artisans. The findings also show the importance of control they have over their work, qualification, education, know-how and recognition for the workers.

APA, Harvard, Vancouver, ISO, and other styles

33

Vieira, Keila. "Trans*formations of the Womanly Body : hybrid feminine representation in manga-inspired quadrinhos." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3052/document.

Full text

Abstract:

Nous nous concentrons sur la reproduction visuelle de la « femme » dans le quadrinhos en tant que référence de la période créatif et innovante de la littérature visuelle au Brésil au travers du manga. Cette thèse étudie le fait que la « femme » en tant que personnage principal peut être vu comme un simple critère esthétique pour un regard masculin érotique. Cependant, nous trouvons également dans ces caractéristiques un contrepoids, puisque dans ce référentiel érotique, ces personnages féminins sont devenus un exemple de liberté personnelle d´indépendance et d´autonomie au Brésil. Nous analysons de manière entrelaçé l´immigration au Brésil et au Japon, la représentation visuelle féminin en quadrinhos, manga et manga-inspirés quadrinhos, le fandom et les contradictions féminines
The visual reproduction of the "woman" in quadrinhos marks a creative and innovative period of the visual literature in Brazil concerning its hybridization with manga. This thesis concerns the fact that this "woman" can be seen as a simple aesthetic criterion for an erotic male gaze. However, we argue that this characteristic becomes a counterweight for women´s personal freedom, independence and autonomy in Brazil. We analyse it through a carnivalization which mark the immigration of Japanese to Brazil and of Brazilian Japanese to Japan with the female visual representation in quadrinhos, manga and manga-inspired quadrinhos, the fandom and feminine contradictions

APA, Harvard, Vancouver, ISO, and other styles

34

Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.

Full text

Abstract:

Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective. Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities. This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap. Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.
published_or_final_version
Urban Planning and Design
Doctoral
Doctor of Philosophy

APA, Harvard, Vancouver, ISO, and other styles

35

BASTOS, Luciene Maria. "Sociedade, indivíduo e fetiche: a constituição da subjetividade no âmbito da indústria cultural." Universidade Federal de Goiás, 2007. http://repositorio.bc.ufg.br/tede/handle/tde/2157.

Full text

Abstract:

Made available in DSpace on 2014-07-29T16:15:22Z (GMT). No. of bitstreams: 1 Dissert-Luciene.pdf: 744701 bytes, checksum: c0c41478fdf9d8c6c5608fe6ca8ee860 (MD5) Previous issue date: 2007-08-30
The present study is part of the Cultural and Educacional Process Research Line and aims at investigating the loss of meaning of education as culture in the constitution of subjectivity in a scope in which the cultural industry is a privileged means of socialization. The individual tends to make bonds with adaptation and acceptance of the existing things as natural and unchangeable. A similar constitution metamorphoses the individual into indifferentiated and fetishised object, once it excludes denial as part of human life in society, resulting in identification and adjustment to the established social organisation. This study seeks understanding of the elements and processes that produce what can be called fetishising of subjectivity. By researches bibliographical, in order to reach such understanding, it is sought in Adorno and Horkheimer, the fertility of their analysis of the rationality that goes through culture and society since the beginning of the present time. Subjectivity is seen as constitution present specifically in society, process mediated by contradictions and clashes between private dimensions (individual) and universal (social), which the individual is composed by. Labour, the creating activity of men, in the scope of production of life under the rules of capitalism is found submitted to this mean of production, generating an alienated human constitution, both materially and spiritually. From this study, it can be concluded that the conditions of blocking autonomous subjectivity occur in historical conditions. This is the tendency of present society, since it is a social organisation ruled by capital. Such adjustment does not nullify the constitution of a critical, autonomous subjectivity, since this a continuous human process, and as such, surrounded by uncertainties and possibilities.
O presente estudo integra a Linha de Pesquisa Cultura e Processos Educacionais e objetiva investigar a deformação do sujeito pela coisificação e pela indiferenciação que constituem a fetichização da subjetividade, enfatizando-se o papel capital da indústria cultural nesse processo, expressando, no limite, a perda de sentido da cultura como educação na constituição humana. Para o estudo elegeu-se como campo privilegiado a relação entre indivíduo e sociedade no processo de socialização efetuado na cultura e no trabalho. Nesse universo, o indivíduo tende a vincular-se à adaptação e à aceitação do existente como natural e imutável. Semelhante constituição metamorfoseia o indivíduo em objeto fetichizado e indiferenciado, uma vez que exclui a negação como elemento inerente à vida em sociedade, resultando na identificação e no ajustamento à organização social estabelecida. Mediante pesquisa bibliográfica, busca-se compreender os elementos e processos que produzem a fetichização da subjetividade, tendo em vista a possibilidade objetiva de emancipação humana. Para alcançar tal compreensão, busca-se na teoria crítica da Escola de Frankfurt, especialmente em Adorno e Horkheimer, a fertilidade de sua análise sobre a racionalidade que permeia a cultura e a sociedade modernas. A subjetividade é compreendida como constituição erigida especificamente em sociedade, processo balizado por contradições e embates entre as dimensões particular (individual) e universal (social), as quais compõem o indivíduo. O trabalho, a atividade criadora do homem, elemento diferenciador que compõe sua individualidade, no âmbito da produção da vida sob os ditames do capitalismo, se encontra submetido a este modo de produção, gerando uma constituição humana alienada, material e espiritualmente. A partir deste estudo, conclui-se que as condições de obstacularização da subjetividade autônoma ocorrem em condições históricas. Essa é a tendência da sociedade atual, visto esta ser uma organização social administrada pela dominação do capital. Tal conformação não anula a constituição de uma subjetividade crítica, autônoma, em razão de este ser um processo humano contínuo e, como tal, permeado de incertezas e possibilidades

APA, Harvard, Vancouver, ISO, and other styles

36

Silva, Rafael Florencio da. "A construção já é ruína: a tropicália de Caetano Veloso sob o processo de modernização do território brasileiro." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-09102018-131017/.

Full text

Abstract:

Nossa pesquisa de dissertação se dedica a analisar as transformações ocorridas no campo da cultura nacional sob o processo de modernização a partir do estudo da obra do músico popular Caetano Veloso, em diálogo estabelecido com o crítico literário Roberto Schwarz. Ao tomarmos a relação entre cultura e política como campo de análise da investigação geográfica, estabelecemos o diálogo entre o processo de territorialização da indústria cultural e a formação territorial do Estado nacional brasileiro. O debate entre os dois autores, Veloso e Schwarz, nos permite analisar a partir do campo da cultura as transformações que o processo de modernização produziu em território nacional ao adotarmos o conceito de modernização retardatária a fim de problematizar a relação entre o arcaico e o moderno presente nas discussões sobre o nacional desenvolvimentismo. Nessa perspectiva, nos utilizamos das formulações de Guy Debord sobre a autonomização das esferas da cultura e da política na formação da sociedade do espetáculo. A interpretação tropicalista da formação nacional e identidade nacional se cruzam com percurso mencionado, bem como a formação de uma indústria cultural nacional como fator de integração do território nacional e territorialização do capital.
Our dissertation research is dedicated to analyzing the transformations that occurred in the field of national culture under the modernization process, based on the study of the work of the popular musician Caetano Veloso, in a dialogue established with the literary critic Roberto Schwarz. When we take the relationship between culture and politics as a field of analysis of geographic research, we establish a dialogue between the process of territorialization of the cultural industry and the territorial formation of the Brazilian national state. The debate between the two authors, Veloso and Schwarz, allows us to analyze from the field of culture the transformations that the process of modernization produced in the national territory by adopting the concept of delayed modernization in order to problematize the relation between the archaic and the modern present in the discussions on national developmentalism. In this perspective, we use Guy Debord\'s formulations on the autonomization of the spheres of culture and politics in the formation of the society of the spectacle. The tropicalist interpretation of national formation and national identity intersect with the aforementioned path, as well as the formation of a national cultural industry as a factor of integration of the national territory and territorialisation of capital.

APA, Harvard, Vancouver, ISO, and other styles

37

Bedoya, Ospina Rosa Yamile. "Estrategias para la educación intercultural en la escuela a través de los recursos educativos de las industrias culturales." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/673684.

Full text

Abstract:

L'estudi actual té com a objectiu específic identificar en equipaments i organitzacions culturals, elements que puguin integrar-se en l'organització escolar per generar processos d'aprenentatge que permetin aportar a l'diàleg intercultural i ampliar les maneres de crear, produir i distribuir la cultura. L'estudi és de naturalesa qualitativa i utilitza un disseny interpretatiu per descobrir les condicions que les organitzacions i equipaments culturals tenen en compte per buscar un espai de trobada entre el món educatiu i el món cultural. Per a la investigació es va fer una entrevista semiestructurada i l'anàlisi documental de 16 experiències; 8 de organitzacions culturals i 8 d'equipaments culturals. L'anàlisi de dades es va fer mitjançant Atlas.ti. Els resultats mostren que l'organització escolar ha d'actualitzar-sota els paradigmes culturals contemporanis i és la institució més democratitzadora per impulsar l'emprenedoria de gestors culturals, la creació de públics participatius, l'educació de consumidors crítics i la formació de ciutadania cultural. L'estudi contribueix a la recerca existent sobre educació intercultural a l'proposar la intersecció entre cultura i educació des de l'aprenentatge dialògic i les comunitats d'aprenentatge, amb la perspectiva que l'accés a la cultura genera nous sectors de treball i facilita la implicació dels col·lectius amb dificultats d'inserció en l'entorn laboral.
El estudio actual tiene como objetivo específico identificar en equipamientos y organizaciones culturales, elementos que puedan integrarse en la organización escolar para generar procesos de aprendizaje que permitan aportar al diálogo intercultural y ampliar las maneras de crear, producir y distribuir la cultura. El estudio es de naturaleza cualitativa y utiliza un diseño interpretativo para descubrir las condiciones que las organizaciones y equipamientos culturales tienen en cuenta para buscar un espacio de encuentro entre el mundo educativo y el mundo cultural. Para la investigación se hizo una entrevista semiestructurada y el análisis documental de 16 experiencias; 8 de organizaciones culturales y 8 de equipamientos culturales. El análisis de datos se hizo mediante Atlas.ti. Los resultados muestran que la organización escolar debe actualizarse bajo los paradigmas culturales contemporáneos y es la institución más democratizadora para impulsar el emprendimiento de gestores culturales, la creación de públicos participativos, la educación de consumidores críticos y la formación de ciudadanía cultural. El estudio contribuye a la investigación existente sobre educación intercultural al proponer la intersección entre cultura y educación desde el aprendizaje dialógico y las comunidades de aprendizaje, con la perspectiva de que el acceso a la cultura genera nuevos sectores de trabajo y facilita la implicación de los colectivos con dificultades de inserción en el entorno laboral.
The current study has the specific objective of identifying in cultural facilities and organizations, elements that can be integrated into the school organization to generate learning processes that allow to contribute to intercultural dialogue and expand the ways of creating, producing and distributing culture. The study is qualitative in nature and uses an interpretive design to discover the conditions that cultural organizations and facilities take into account to seek a meeting space between the educational world and the cultural world. For the investigation, a semi-structured interview and documentary analysis of 16 experiences were carried out; 8 from cultural organizations and 8 from cultural facilities. Data analysis was done using Atlas.ti. The results show that the school organization must be updated under contemporary cultural paradigms and is the most democratizing institution to promote the entrepreneurship of cultural managers, the creation of participatory audiences, the education of critical consumers and the formation of cultural citizenship. The study contributes to existing research on intercultural education by proposing the intersection between culture and education from dialogic learning and learning communities, with the perspective that access to culture generates new sectors of work and facilitates the involvement of groups. with difficulties of insertion in the work environment.
Universitat Autònoma de Barcelona. Programa de Doctorat en Educació

APA, Harvard, Vancouver, ISO, and other styles

38

Yu, Wing-mei, and 余詠薇. "Adaptive re-use of urban industrial heritage buildings for cultural and creative industries in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47092944.

Full text

Abstract:

Since 1997, Hong Kong as an international financial center has experienced several financial storms. Whenever it was in the storm, the Government found reliance on finance and real estate unreliable and sought the need to diversify its economic mode. However, as soon as the storm was over, the Government forgot the need and continues to focus on financial development. In 2009, in view of the international financial crisis, the Chief Executive (CE) identified 6 priority industries as the new growth drives to propel Hong Kong towards a knowledge-based economy. In parallel, the Policy Address 2009 endorsed the Government would take “appropriate policies to remove obstacles to their development” (para.21) and “examine whether the existing use of resources can support the new economic structure, and to prevent the factors of production from being tied up by outdated policies and economic structure.” (para.22) Subsequently, CE suggested that diversified development should be a strategic move to achieve sustainable economic growth. To utilize the land resources for the 6 industries? development, the Government launches 4 measures to release the potential of 1000 industrial buildings. Its intention is good. Yet, the result will be much better if there are cohesive policy and measures to synchronize the needs and the strengths of the industries. Among the 6 priority industries to utilize the industrial land, this dissertation targets primarily on cultural and creative industries (CCI) which may collaborate with other industries, such as education and tourism to develop cultural tourism and an education center with a view to forming a CCI park in a post-industrial area. This dissertation divides itself into three. The first part evaluates CCI, urban industrial heritage buildings and their combination; the second examines 4 local case studies, Cattle Depot, JCCAC, Fotan and LoftStage as well as 6 Shanghai ones. The third and final part devises a preliminary but innovative model of how to develop a post-industrial area into a sustainable CCI park with various potentials and resources concerted in Hong Kong.
published_or_final_version
Conservation
Master
Master of Science in Conservation

APA, Harvard, Vancouver, ISO, and other styles

39

Dymek, Mikolaj. "Industrial Phantasmagoria : Subcultural Interactive Cinema Meets Mass-Cultural Media of Simulation." Doctoral thesis, KTH, Industriell ekonomi och organisation (Avd.), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-13084.

Full text

Abstract:

The video game industry has in three decades gone from a garage hobby to a global multi-billion euro media industry that challenges the significantly older and established cultural industries. After decades of explosive growth the industry surprisingly finds itself in a crisis – in terms of sales, future trajectories and creative paradigms. The global gaming culture receives substantial attention from society, media and academia – but the industry itself appears in comparison as an enigmatic terra incognita with astonishingly little dedicated research. This thesis aims to amend this situation by presenting a study at the cross-section of the video game industry, game studies, literary theory, cultural industries and business studies. It deals with the following question: how does the global game industry relate to its own product, in terms of communication and media dimensions, and what are the (business) consequences, in terms of production, strategy and commercial/creative innovation, of this relationship? This study’s departure point is constituted by a comprehensive description of the industry’s structure, dynamics and processes, based on extensive interviews with industry professionals. It is followed by an examination and comparison of the game industry with other media/cultural industries in relation to their economy and business dynamics. With inconclusive answers regarding the medium-industry relation, this study proceeds by exploring literary theories from the field of game studies, in order to gain insights into the dynamics of medium and industry. Literary theories from ludology and narratology provide rewarding perspectives on this inquiry, since it is found that the ontological dichotomy of simulation vs. respresentation present in the interpretational realm of the game medium is also reflected in the industry and its dynamics. This has pivotal consequences for the analysis of the game industry. This study concludes by positing the current critical condition of the industry as an extremely decisive moment in its history: will it become a truly universal mass-medium, or will it continue down its subcultural path? Subcultural “interactive cinema” meets mass-cultural media of simulation – how will the industry evolve?
QC20100708

APA, Harvard, Vancouver, ISO, and other styles

40

Abarca, Mazzini Diego. "Impacto de los nuevos medios en la manipulada “sociedad del espectáculo” o “industrias de la estupidez”: la transformación del arte de la literatura en industria cultural (cultura best-seller)." Universidad Peruana de Ciencias Aplicadas (UPC), 2015. http://hdl.handle.net/10757/344112.

Full text

Abstract:

Trabajo ganador durante en el Curso Taller de Periodismo Literario 2014-2, Facultad de Comunicación y Periodismo, Universidad Peruana de Ciencias Aplicadas - UPC. Lima, Perú
Huele tanto a la mejor sensación que puede transmitir un aroma natural, como a sensualidad en su clímax, e incluso como a la más inmunda putrefacción. Huele también a todos esos aromas combinados. Incluso puede tener sabor ¿pasta? ¿Comida criolla? ¿Vino? ¿Whisky? ¿Vómito? Todas son válidas. Puede incluso ser percibida por el tacto como algo muy frío, muy caliente, áspero; o por sentidos del espacio que pueden hacer sentir ligero, suave, inestable, incómodo, asfixiado o aplastado a aquel que goce de ella. Puede hacer muchísimas cosas. Pero si hay algo que jamás debe hacer, es oler a nada, saber a normal, hacer sentir bien y superficialmente cómodo.

APA, Harvard, Vancouver, ISO, and other styles

41

Li, Chuang (Austin). "China's skateboarding youth culture as an emerging cultural industry." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34372.

Full text

Abstract:

This thesis focuses on the skateboarding industry in China as both a youth subculture and a cultural industry. I am investigating the transition between the two and examining how the emerging skateboarding industry operates through detailed analysis of the feelings, motivations and meanings attributed to it by its participants and the emerging strata of cultural workers. In order to achieve this research objective, this thesis has positioned the analysis in a triangle of forces between the development of Chinese skateboarding culture, the emerging skateboarding cultural industry and government interventions. This ethnographic study takes into account distinctive characters in the development of Chinese skateboarding communities that signify continuities inside contemporary Chinese youth cultures. I argue that such continuity is still embedded in the organisation of the Chinese skateboarding industry as a cultural industry, in both subcultural and corporate entrepreneurial practices. Moreover, this thesis contributes to ongoing discussions in the field of not only cultural studies but also of the political economic analysis of cultural/creative industries by examining the dynamic incorporations at play between the commercial and governmental forces at the centre of current debate around the inclusion of skateboarding in the Olympic Games, and the consequences of the sportisation of skateboarding in mainstream economic structures. Last but not least, this research captures the working conditions of the cultural labourers who are at the forefront of shaping and reshaping the Chinese skateboarding industry.

APA, Harvard, Vancouver, ISO, and other styles

42

Esteves, Anna Maria Pereira. "Dramaturgie et mémoire : le groupe Icaros do Vale, dans le Minas Gerais ( Brésil)." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100122.

Full text

Abstract:

Cette thèse construit une réflexion sur les liens entre dramaturgie et mémoire, dans “l’écriture de la scène” du groupe de théâtre « Icaros do Vale », dans le Minas Gerais (Brésil), considérant que le “mode populaire de la production artistique” d'Icaros do Vale s’inscrit dans l’assertion lukacsienne de l’universalité esthétique de la représentation, même apparemment ancrée dans le particulier et le “processus de la vie réelle”. L’analyse inclut une réflexion sur la culture populaire et, plus spécifiquement dans le domaine du théâtre, sur les modes de recréation, dans l’écriture de la scène, de ces représentations exemplaires. La redéfinition idéologique de ce qui est appelé “culture populaire” inclut un questionnement de l’authenticité et de la légitimité de sa “récupération mémorielle”, sans la condamner à une simple reproduction de stéréotypes et aussi sans considérer comme art authentique les démonstrations colonisées par l’industrie de la culture. Le dévoilement des implications sociales, politiques, idéologiques et esthétiques qui imprègnent le groupe Icaros do Vale exige une connaissance de la vie de la région de Jequitinhonha, son occupation et son peuplement à partir de 1789 et les modes de maintien des fêtes traditionnelles, des coutumes, des légendes, des chants anciens et du théâtre populaire. A partir de cette genèse des manifestations culturelles, il sera possible d’étudier l’émergence et la réémergence, dans le temps, de cette diversité et de cette richesse culturelle. Et de tenter d’éclaircir l’apparent paradoxe que représente l’existence de ce groupe théâtral de grande qualité dans une région au statut socioéconomique aussi précaire que le Vale do Jequitinhonha
The object of this thesis is to reflect on the dramaturgy and memory of Ícaros do Vale theater group, which has completed fifteen years of political and aesthetical resistance in Vale do Jequitinhonha, Minas Gerais. For that purpose, the following investigation was carried out in order to investigate if the “popular method of artistic production” of Ícaros do Vale, known for its commitment to the “process of real life”, elevates itself to universality, even though it is linked to the representation of something in particular. The task consisted of an analysis beyond the efforts commonly found on studies about representation on popular culture and, specifically on the field of the theater produced by Ícaros do Vale, object of this research, about the efforts to “rescue” their own “exemplary” representations through their scenic procedures. The representation of the popular culture of Minas Gerais on the performances of the group will not be legitimized with redeeming authenticity, nor will it be condemned as mere reproduction of the stereotype, as it is usual on a discourse that considers genuine art the manifestations largely colonized by the cultural industry

APA, Harvard, Vancouver, ISO, and other styles

43

Carvalho, Leandro de. "Economia criativa: acesso e distribuição de bens culturais." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/9387.

Full text

Abstract:

Made available in DSpace on 2016-04-26T20:48:56Z (GMT). No. of bitstreams: 1 Leandro de Carvalho.pdf: 647913 bytes, checksum: eed5eabf770713041bd4cad0aa0c8d27 (MD5) Previous issue date: 2009-05-27
Creative economy is the theme that permeates the discussion of this work. While discussing its definitions, its scope and its size, the attention was focused on two of its aspects: access and distribution of cultural goods. These aspects were chosen based on the tension that was noticed in the cultural production: on the one hand, the music and audiovisual industry with a business model that makes profit, creating scarcity through the medium (physical environment), being controled and restrict; on the other hand, the movement of technology users, especially Internet users, promoting actions that undermine the bases of cultural industry: they make the support desnecessary and the access becomes unrestricted and fast, and change the ways of distribution, through the channels of sharing and viewing of any cultural production, that can be seen using the nearest computer. In light of these events and tensions, the development of the computer is discussed in this research: from the machine for storage only, to the machine of access. It´s also discussed, at this study, the global network as the great diffuser of cultural production, especially for small producers. Finally, it was concluded that the creation of new production facilities for cultural, musical and audiovisual areas reveal an important contradiction: the environments of greatest enhancement of access, innovation, creativity and culture (based on analysis of Rifkin), could be completely appropriated by the cultural industry, taking up the changes in perceptions of the demands. However, alongside this new type of incentive, the global network provides tools in order to completely unlink creation, distribution and access, minimizing any attempt of the cultural industry in the sense of total control of what is produced and distributed as a cultural good. New possibilities for the culture producer were placed and this professional can select and, possibly, depend less on the big cultural industry in order to feed their lives, through their art
Economia criativa é o tema que permeia a discussão deste trabalho. Enquanto se discute suas definições, sua abrangência e sua dimensão, foi focada atenção em dois de seus aspectos: o acesso e a distribuição de bens culturais. Esse recorte foi escolhido pela grande tensão que se percebe nessa produção cultural: de um lado a indústria fonográfica e audiovisual com um modelo de negócio que realiza lucro, gerando escassez por meio do suporte (meio físico), sendo passível de controle e restrição; de outro lado, o movimento de usuários de tecnologia, principalmente internautas, promovendo ações que minam as bases da indústria cultural: tornam o suporte desnecessário e o acesso irrestrito e rápido, e alteram as formas de distribuição, por meio dos canais de compartilhamento e exibição de qualquer produção cultural, ao alcance do computador mais próximo. Diante desses acontecimentos e tensões, discute-se, nessa pesquisa, a evolução do computador: de máquina de armazenamento apenas, para máquina de acesso. Discute-se, também, a rede mundial como grande difusora de produção cultural, principalmente para os pequenos produtores. Por fim, concluiu-se que as novas facilidades de criação de produção cultural, nas áreas musical e audiovisual, revelam uma contradição importante: os ambientes de maior valorização do acesso, da inovação, da criatividade e da cultura (com base nas análises de Rifkin), poderiam ser completamente apropriados pela indústria cultural, aproveitando-se das mudanças nas percepções das demandas. Entretanto, paralelamente a este novo modelo de incentivo, a rede mundial passa a disponibilizar ferramentas para que a criação, a distribuição e o acesso sejam totalmente desintermediados, minimizando qualquer tentativa da indústria cultural no sentido de controle total do que é produzido e distribuído como bem cultural. Novas possibilidades para o produtor cultural foram colocadas em cena e esse profissional poderá escolher e, possivelmente, dependerá menos da grande indústria cultural para geração de seu sustento, por meio de sua arte

APA, Harvard, Vancouver, ISO, and other styles

44

Bustamante, Fajardo Luis Mauricio. "L’UNESCO et la culture : construction d’une catégorie d’intervention internationale, du « développement culturel » à la « diversité culturelle »." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0130.

Full text

Abstract:

La thèse a pour objectif de contribuer à l’étude de la constitution de la culture comme catégorie d’intervention internationale. Elle porte sur l’UNESCO comme terrain d’observation de ce processus, qui s’étend sur la période 1966-2005. À partir de plusieurs types de sources et de méthodes (dépouillement d’archives, analyse de données statistiques, entretiens, observation participante), la thèse retrace la genèse sociale, les conditions de possibilité et les enjeux qui structurent l’espace international des débats sur la culture et les biens culturels. Dès la fin des années 1960, le « développement culturel » s’impose comme doctrine qui légitime l’action de l’État dans le secteur culturel. Les débats se poursuivent dans les décennies suivantes et portent sur la délimitation des secteurs d’intervention, ainsi que sur le degré de participation des pouvoirs publics et du marché en tant que facilitateurs de la production et médiateurs dans la circulation des biens culturels. Dans ce processus, apparaît un espace de concurrence où interagissent des agents internationaux avec des statuts différents (hommes politiques, diplomates, fonctionnaires internationaux, chercheurs, universitaires, artistes, etc. ) pour définir une conception légitime de la culture et des formes d’action culturelle. Le principe de « diversité culturelle » est la manifestation la plus récente de ces luttes internationales, il vise à garantir l’autonomie de la production culturelle nationale face à l’internationalisation inégale des marchés. Il s’inscrit de ce fait dans la continuité des débats internationaux qui ne cessent d’être réactivés depuis désormais plus d’un demi-siècle
The objective of the thesis is to contribute to the study of the constitution of culture as a category of international intervention. UNESCO is the field where we observe this process during the period of 1966-2005. Through many types of sources and methods (archival analysis, statistical analysis, interviews, participant observation), the thesis retraces social genesis, the conditions of possibility and the issues which structure the international stage of debates on culture and cultural goods. By the 1960s, the “cultural development” is imposed as a doctrine which legitimize the actions of the state in the cultural sector. Debates continue in the following decades and focus on the delineation of areas of intervention, as well as on the degree of participation of the public authorities and the market as the facilitator of the production and mediator in the circulation of cultural goods. In this process appears a competitive space where international actors with different statuses (politicians, diplomats, international civil servants, researchers, academics, artists, etc. ) interact to define a legitimate conception of culture and cultural forms of action. The principle of “cultural diversity” is the latest manifestation of these international struggles, it aims to ensure the autonomy of national cultural production in the face of the uneven internationalization of markets. It is part of the continuous international debates which never cease to be reactivated for more than half a century. This thesis would like to contribute to the reflection on the process of creation, circulation and legitimization of new categories of action when thinking about culture

APA, Harvard, Vancouver, ISO, and other styles

45

Velasquez, Sandra. "La production indépendante de la musique traditionnelle, communiquer pour garantir la diversité culturelle : études de cas autour de la musique traditionnelle en Colombie dans les régions Andine et Caraïbe." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30064/document.

Full text

Abstract:

L’Exception Culturelle marque le point de départ des questions soulevées à propos de la singularité de l’industrie culturelle sur fond de traités commerciaux de libre-échange, débats qui aboutiront à une réponse de la part de la communauté internationale avec la Convention en faveur de la Protection et de la Promotion de la Diversité des Expressions Culturelles approuvée par l’Unesco en 2005. D’autre part, la réforme constitutionnelle de 1991 entreprise en Colombie affirme le caractère multiethnique et pluriculturel du pays, reconnaissant du même coup de façon officielle la diversité des expressions culturelles au sein de la nation. Enfin, les ressources technologiques dont peuvent disposer les musiciens à partir des années 1990 sont le troisième facteur fondamental au cœur de notre thèse. La convergence de ces faits nous ont conduits à nous interroger sur la réalité de la production indépendante de musiques traditionnelles en Colombie, dans les régions andine et caribéenne en particulier. La Théorie Critique, l’Economie Politique, les Cultural Studies ainsi que les apports d’auteurs latino-américains portant sur la relation existante entre Communication et Culture ont borné le cadre théorique de nos recherches. Nous avons choisi les récits de vie comme outil méthodologique pour mieux appréhender les expériences vécues par les producteurs indépendants de musiques traditionnelles. Cette thèse met en lumière les formes et pratiques de différents types de production qui vont de l’autoproduction jusqu’aux productions des maisons indépendantes. En outre, nous exposons les tensions existantes entre les indépendants et la grande industrie, les médias et le phénomène de la piraterie. Notre travail soumet et propose un concept nouveau: La Production en Confrérie, pour mieux caractériser les liens qui se tissent entre musiciens, producteurs, fans et institutions qui tendent à faciliter la production indépendante de musiques traditionnelles
The debate about the singularity of the cultural industry in the times of free trade has been happening since the Cultural Exception. The international community has been contributing to this debate through the Convention for the Promotion and Protection of the Diversity of Cultural Expressions, endorsed by the UNESCO in 2005. In parallel, the 1991 amendment to the Colombian constitution acknowledges a multiethnic and multicultural country, that is, it recognizes diversity in the nation´s cultural expressions. The third factor that influences this thesis are the technologic resources shared by music producers from the 90s. These facts made us wonder about the current situation of independent traditional music production in Colombia, the Andean Region and in the Caribbean. The theoretical framework was guided by the Critical Theory, the Political Economy, the Cultural Studies and the inputs from Latin-American authors on the relationship between Communication and Culture. The methodology used life stories in order to get to know the experience of traditional music independent producers. This thesis shows the production methods, from self-production to independent music producers. Besides, it shows the tension between independent producers and big companies, mass media and piracy. This research introduces the concept of Brotherhood Production in order to explain the relationships among musicians, producers, fans and institutions. These relationships make possible the production of independent traditional music
El debate sobre la singularidad de la industria cultural en tiempos de libre comercio viene dándose desde la Excepción Cultural y tiene una respuesta de la comunidad internacional con la Convención por la Protección y Promoción de la Diversidad de Expresiones Culturales aprobada en la UNESCO en el 2005. De otro lado, en Colombia, la reforma constitucional de 1991 afirma el carácter multiétnico y multicultural del país, es decir reconoce la diversidad de expresiones culturales de la nación. El tercer hecho que marca esta tesis son los recursos tecnológicos que tienen los productores de música a partir de los 90´s. Estos hechos nos llevaron a preguntarnos por la realidad de la producción independiente de músicas tradicionales en Colombia, en la Región Andina y en la Región Caribe. La Teoría Crítica, la Economía Política, los Cultural Studies y los aportes de los autores latinoamericanos sobre la relación entre Comunicación y Cultura orientaron el marco conceptual. Las historias de vida fueron la metodología seleccionada para conocer la experiencia de los productores independientes de música tradicional. Esta tesis evidencia las formas de producción desde la autoproducción hasta las productoras de música independiente. Además, muestra las tensiones de los independientes con la gran industria, los medios de comunicación y la piratería. Esta investigación propone el concepto Produccion de Cofradía para explicar las relaciones que se tejen entre músicos, productores, fans e instituciones para posibilitar la producción independiente de música tradicional

APA, Harvard, Vancouver, ISO, and other styles

46

Viana, Flávio Gondim. "A cidade de Fortaleza e suas raízes industriais: ensaios sobre formação urbana e patrimônio industrial." Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/2787.

Full text

Abstract:

Submitted by Paola Damato (repositorio@mackenzie.br) on 2016-05-13T15:29:03Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Flavio Gondim Viana.pdf: 3594742 bytes, checksum: 76123e666c86156d1cf832c1f790ab02 (MD5)
Approved for entry into archive by PAdamato Damato (padamato@hotmail.com) on 2016-05-23T16:04:25Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Flavio Gondim Viana.pdf: 3594742 bytes, checksum: 76123e666c86156d1cf832c1f790ab02 (MD5)
Approved for entry into archive by PAdamato Damato (padamato@hotmail.com) on 2016-05-23T16:08:55Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Flavio Gondim Viana.pdf: 3594742 bytes, checksum: 76123e666c86156d1cf832c1f790ab02 (MD5)
Made available in DSpace on 2016-05-23T16:10:39Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Flavio Gondim Viana.pdf: 3594742 bytes, checksum: 76123e666c86156d1cf832c1f790ab02 (MD5) Previous issue date: 2015-02-06
According to the Statistical Yearbook of Brazil (1976) the population of Fortaleza went from 41,000 people in 1890 to about 2,571,896 inhabitants in 2014, according to IBGE (2010) and estimates of the resident population of July 2014, published in the Journal Union official on 08/28/2014. This population increase caused rapid expansion of the urban space. From the 1970s the phenomenon of de-industrialization in the urban area of Fortaleza, in addition to causing the transfer of numerous plants to other parts of the city and the state of Ceará, contributed to the closure and abandonment of other areas, some of which are true documentary records of the landscape, identity and symbols that form the local history. On the theme of industrialization and urban space this work aimed to characterize the urbanization of Fortaleza, with reference to the historical context of industrialization from the installation of the first industries in the city. In the text are addressed issues related to industrial heritage, from the reasons why cultural property are not preserved and its implications in the history of communities. Industrialization in Fortaleza seek rescue examples of three ancient city industries: Brazil Oiticica SA , San José Textile Factory ( SA Philomeno Industry and Trade ), and the Oficina do Urubú (Office of the Vulture), belonging to RFFSA, trying to analyze not only the constructed object but the whole process and the circumstances that resulted in him. This literature qualitative study aims not reach conclusive criteria defining categorically that the urbanization of Fortaleza was determined by the arrival of industrialization, but rather to contribute reflections on the theoretical and historical implications of this fact.
Segundo o Anuário Estatístico do Brasil (1976) a população de Fortaleza que em 1890 era de 41 mil pessoas, passou para cerca de 2.571.896 habitantes em 2014, conforme dados do IBGE (2010). Esse aumento populacional ocasionou a rápida expansão do seu espaço urbano para as zonas Oeste e Leste da cidade. O processo de industrialização fortalezense ocorreu no lado Oeste da cidade, a partir do final do século XIX até a década de 1970. Investigar como se deu o início dessa urbanização, até o recorte da década de 1940, é o objetivo principal deste trabalho. Descobrir se esse fato dependeu diretamente da instalação das indústrias é a maior questão. Desde os anos de 1970, as indústrias localizadas na área urbana de Fortaleza vêm se transferindo para outras regiões do estado, deixando para trás os edifícios de suas fábricas. Alguns deles, já foram derrubados, outros ainda estão lá, fazendo parte da paisagem, mas desprovidos das suas condições de símbolos locais. Essa pesquisa, também pretende contribuir com questões relacionadas a valorização dos prédios industriais como parte da história das comunidades onde estão inseridos. Da industrialização em Fortaleza buscamos resgatar exemplos de três antigas indústrias da cidade: a Fábrica de Tecidos São José Philomeno S.A. Indústria e Comércio, as Oficinas do Urubu, pertencente à RFFSA, e a Brasil Oiticica S.A.. Analisando as mudanças ocorridas no entorno de cada uma delas, a partir duas instalações, e em seguida apresentando características de cada unidade fabril. Esta pesquisa procura contribuir com reflexões teóricas e históricas sobre a urbanização de Fortaleza, suas relações com o primeiro processo industrial ocorrido na cidade, além de problematizar a relação patrimônio e cidade.

APA, Harvard, Vancouver, ISO, and other styles

47

Grech, Lisa Marie. "The effect of culture on cross-cultural conflict resolution behaviors." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2331.

Full text

Abstract:

This study attempted to investigate whether there were differences in the conflict behaviors chosen for members of the same culture versus members of a different culture when accounting for Chinese cultural value conservation.

APA, Harvard, Vancouver, ISO, and other styles

48

Correa, Jr Fausto Douglas [UNESP]. "O cinema como instituição: a Federação Internacional de Arquivos de Filmes (1948 – 1960)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103132.

Full text

Abstract:

Made available in DSpace on 2014-06-11T19:32:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-03-05Bitstream added on 2014-06-13T19:25:52Z : No. of bitstreams: 1 correajunior_fd_dr_assis.pdf: 1280807 bytes, checksum: 1f6f4709aab2611bc68135fe8dfadadc (MD5)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Esse trabalho pretendeu reconstruir os debates da Federação Internacional de Arquivos de Filmes (Fiaf) no período entre os anos de 1948 e 1960. A Tese é que no período em foco nessa pesquisa estava em pauta no âmbito da Fiaf uma série de projetos que em seu conjunto formavam uma unidade coerente – sistematizada na ideia da constituição de um Instituto Internacional de História, Arte e Ciência Cinematográfica da Fiaf -, e que ajudaria a proteger a federação, dando-lhe um mínimo de autonomia frente ao novo mercado que ela mesma ajudou a engendrar: o mercado do patrimônio cinematográfico. A Tese postula também que a crise da Fiaf (1959/60) – uma crise da autonomia da federação frente ao mercado – é a origem do malentendido na Fiaf entre o conceito de difusão de cultura cinematográfica – ações guiadas por conceitos, concepções e posicionamentos políticos/ pedagógicos em torno do cinema e da sociedade – e a ideia de acesso ao patrimônio, que não possui os pressupostos da difusão arrolados acima
This Thesis aims to reestablish the debates of the International Federation of Films Archives (Fiaf) between 1948 and 1960. The thesis sustains that in this period there was a group of projects in Fiaf organized around the idea of an International Institute of History, Arts and Science Research. The goal of this Institute was to protect the Federation, giving it some autonomy to face the new market that the Federation itself had also helped to create: the market of cinematography heritage. This Thesis also proposes that the crisis of Fiaf (1959/60) was the origin of the misunderstanding between the concept of diffusion – actions guided by concepts, conceptions and political/ pedagogical positionings about cinema and society – and the idea of access to heritage, which has not the same assumptions of the concept of diffusion described above

APA, Harvard, Vancouver, ISO, and other styles

49

Deiana, Agostina. "Las industrias culturales en la Argentina." Bachelor's thesis, Universidad Nacional de Cuyo. Facultad de Ciencias Económicas, 2015. http://bdigital.uncu.edu.ar/7513.

Full text

Abstract:

El objetivo general de esta investigación se plantea estudiar las Industrias Culturales en la Argentina, su representatividad e impacto como sector económico, desarrollo, caracteres y prospectivas; considerándolas como un conjunto de actividades productoras de contenidos simbólicos a partir de un proceso creativo dado, destinadas al mercado del consumo cultural. Los objetivos específicos son: analizar la estructura y dinámica del sector productivo elegido; comprender mejor el comportamiento de los distintos mercados y sectores culturales del país; cuantificar el impacto del sector cultural de el país, en particular los efectos de éste sobre el valor agregado y el empleo; describir el estado de situación de las IICC en Argentina; dilucidar la importancia cualitativa de las IC en el desarrollo.
Fil: Deiana, Agostina. Universidad Nacional de Cuyo. Facultad de Ciencias Económicas.

APA, Harvard, Vancouver, ISO, and other styles

50

Pereira, Ronaldo Vicente. "Paracambi industrial: uma proposta de roteiro cultural." reponame:Repositório Institucional do FGV, 2018. http://hdl.handle.net/10438/24461.

Full text

Abstract:

Submitted by Ronaldo Vicente Pereira (rvicentepereira@yahoo.com.br) on 2018-07-13T00:23:00Z No. of bitstreams: 1 Dissertação Ronaldo FGV definitiva.pdf: 3342222 bytes, checksum: adadd0f07cf773590bba6bb28bbf6a79 (MD5)
Approved for entry into archive by Diego Andrade (diego.andrade@fgv.br) on 2018-07-24T19:32:24Z (GMT) No. of bitstreams: 1 Dissertação Ronaldo FGV definitiva.pdf: 3342222 bytes, checksum: adadd0f07cf773590bba6bb28bbf6a79 (MD5)
Made available in DSpace on 2018-07-25T13:31:03Z (GMT). No. of bitstreams: 1 Dissertação Ronaldo FGV definitiva.pdf: 3342222 bytes, checksum: adadd0f07cf773590bba6bb28bbf6a79 (MD5) Previous issue date: 2018-05-28
O objetivo desta dissertação é investigar, dentro do mundo do turismo cultural, a possibilidade de elaboração de um roteiro cultural na cidade de Paracambi no Estado do Rio de Janeiro. O referido município se desenvolveu a partir do surgimento de três fábricas têxteis, com destaque para maior delas, a Companhia Têxtil Brasil Industrial, e todo um patrimônio constituído nos seus mais de cem anos de atividades na região. A pesquisa se justifica pelo fato de Paracambi já desenvolver o turismo ecológico, em função da diversidade natural da região. Some-se a isso sua proximidade com o Vale do Café Fluminense, uma rota turística consagrada no Estado. Desta forma, a elaboração de um roteiro cultural poderia ser um importante incremento das atividades de turismo desenvolvidas na cidade. As reflexões desenvolvidas nesta pesquisa se valeram de uma perspectiva teórica multidisciplinar envolvendo Sociologia (Keller. 1997), Antropologia (Leite Lopes, 1988), Educação e Trabalho (Ciavatta, 2007), Historiografia (Furtado, 2003; Silva, 2009), Geografia (Simões, 2006) e Turismo Cultural (Molleta, 1998; Cordeiro, 2006). A proposta metodológica se baseou em revisão de literatura, visitas de campo e em entrevistas realizadas junto a moradores de Paracambi que trabalharam na Companhia Têxtil Brasil Industrial. Ao final do trabalho, apresenta-se uma proposta de roteiro cultural capaz de relacionar a história da referida Fábrica e da cidade de Paracambi, as quais se (con)fundem; paralelamente, a pesquisa produz, para além de um roteiro, subsídios suficientes para se afirmar uma estreita correspondência entre patrimônio industrial e memória operária.
The objective of this dissertation is to investigate, within the world of cultural tourism, the possibility of elaborating a cultural itinerary in the city of Paracambi in the State of Rio de Janeiro. The mentioned municipality was developed from the appearance of three textile factories, especially the Textile Company Brazil Industrial, and an entire asset constituted in its more than one hundred years of activities in the region. The research is justified by the fact that Paracambi already develops ecological tourism, due to the natural diversity of the region. Add to that its proximity to the Fluminense Coffee Valley, a tourist route consecrated in the state. In this way, the elaboration of a cultural itinerary could be an important increase of the activities of tourism developed in the city. The reflections developed in this research were based on a multidisciplinary theoretical perspective involving Sociology (Keller 1997), Anthropology (Leite Lopes, 1988), Education and Work (Ciavatta, 2007), Historiography (Furtado, 2003; Silva 2009), Geography) and Cultural Tourism (Molleta 1998; Cordeiro 2006). The methodological proposal was based on literature review, field visits and interviews with residents of Paracambi who worked at Companhia Têxtil Brasil Industrial. At the end of the work, a proposal is presented for a cultural itinerary capable of relating the history of the said Factory and the city of Paracambi, which are merged; At the same time, research produces, besides a script, enough subsidies to establish a close correspondence between industrial patrimony and working memory.
The objective of this dissertation is to investigate, within the world of cultural tourism, the possibility of elaborating a cultural itinerary in the city of Paracambi in the State of Rio de Janeiro. The mentioned municipality was developed from the appearance of three textile factories, especially the Textile Company Brazil Industrial, and an entire asset constituted in its more than one hundred years of activities in the region. The research is justified by the fact that Paracambi already develops ecological tourism, due to the natural diversity of the region. Add to that its proximity to the Fluminense Coffee Valley, a tourist route consecrated in the state. In this way, the elaboration of a cultural itinerary could be an important increase of the activities of tourism developed in the city. The reflections developed in this research were based on a multidisciplinary theoretical perspective involving Sociology (Keller 1997), Anthropology (Leite Lopes, 1988), Education and Work (Ciavatta, 2007), Historiography (Furtado, 2003; Silva 2009), Geography) and Cultural Tourism (Molleta 1998; Cordeiro 2006). The methodological proposal was based on literature review, field visits and interviews with residents of Paracambi who worked at Companhia Têxtil Brasil Industrial. At the end of the work, a proposal is presented for a cultural itinerary capable of relating the history of the said Factory and the city of Paracambi, which are merged; At the same time, research produces, besides a script, enough subsidies to establish a close correspondence between industrial patrimony and working memory

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Industria culturale'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles