Dissertations / Theses: 'The society of the spectace'

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Richardson, Mark. "Re-reading The Situationists : theory, practice and the text : 'The Society of the Spectacle' in critical perspective." Thesis, University of South Wales, 2006. https://pure.southwales.ac.uk/en/studentthesis/rereading-the-situationists(aaa94636-6a24-4090-a153-60c6472c9cfe).html.

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Hellgren, Amanda, and Anastasia Partanen. "Becoming-Fashion : Begäret efter övermänniskan." Thesis, Blekinge Tekniska Högskola, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12350.

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Vi vill med det här kandidatarbetet ifrågasätta begäret efter övermäniskan som vi menar att reklam för modeindustrin idag porträtterar. Med hjälp av Guy Debords skådespelssamhälle och Gilles Deleuze och Felix Guattaris teorier ifrågasatter vi vad det är vi begär och varför vi gör det. Vi ifrågasätter övermänniskan som modeindustrin producerar med förhoppningen att det ökar medvetenheten för personer i samhället. Ifrågasättandet av begäret har resulterat i två gestaltningar, en klänning av sönderrivna sidor ur boken Mein Kampf och en kreation av hönsnät formad som en naken kvinna. Vi känner oss fångade av modeindustrin och känner oss illa till mods över hur den mänskliga kroppen porträtteras i reklam för mode. Vi menar att det i klädreklam snarare handlar om avsaknaden av den mänskliga kroppen då bilderna retuscheras till en artefakt. Vi ser vår undersökning som en grund till en fortsatt undersökning om ett alternativ och förhoppningsvis kommer vårt begär i framtiden förflyttats från övermänniskan till något mer mänskligt.
In this Bachelor thesis we question the desire for the übermensch that we mean advertising for the fashion industry portrays today. With help of Guy Debord's “Society of the Spectacle” and Gilles Deleuze and Felix Guattari's theories we question our desire and why we desire it. We question the übermensch that the the fashion industry produces with the hope that it will increase the society’s awareness. The questioning of desire has resulted in two designs, a dress of torn pages from the book Mein Kampf and the creation of chicken wire shaped like a naked woman. We feel trapped by the fashion industry and feel uneasy about how the human body is portrayed in advertisements for fashion. We believe that the advertising for clothing is more about the lack of the human body when the images are retouched into an artifact. We see our study as a basis for a continued research for an option and in the future hopefully our desire will be moved from the übermensch into something more human. In this Bachelor thesis we question the desire for the übermensch that we mean advertising for the fashion industry portrays today. With help of Guy Debord's “Society of the Spectacle” and Gilles Deleuze and Felix Guattari's theories we question our desire and why we desire it. We question the übermensch that the the fashion industry produces with the hope that it will increase the society’s awareness. The questioning of desire has resulted in two designs, a dress of torn pages from the book Mein Kampf and the creation of chicken wire shaped like a naked woman. We feel trapped by the fashion industry and feel uneasy about how the human body is portrayed in advertisements for fashion. We believe that the advertising for clothing is more about the lack of the human body when the images are retouched into an artifact. We see our study as a basis for a continued research for an option and in the future hopefully our desire will be moved from the übermensch into something more human.

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Chehilita, Émilie. "La critique de la « société du Spectacle » à l’essai sur les scènes théâtrales de Berlin, Londres et Paris dans les années 2000 : spectacle dans le spectacle, la société spectaculaire et marchande au prisme du spectacle vivant." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100076.

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Cette thèse envisage la critique de la « société du Spectacle » (concept forgé dans l’essai éponyme de Guy Debord) telle qu’elle procède dans des œuvres du théâtre expérimental et sur les scènes de la performance au cours des années 2000 à Berlin, Londres et Paris. Les pièces étudiées recyclent des références empruntées aux médias de masse, souvent assimilés à des machines à aliéner le public. Le corpus regroupe aussi bien des auteurs et des metteurs en scène que des collectifs : Martin Crimp, David Ayala, Joël Jouanneau, Falk Richter, René Pollesch, Tom Kühnel, Katie Mitchell, le Collectif MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad et Superamas. L’approche pluridisciplinaire traite à la fois des composants dramaturgiques et des considérants sociologiques de la représentation. D’une part, ce travail étudie la structuration des réseaux dans lesquels les artistes se rencontrent ou coopèrent. D’autre part, nous examinons tant l’organisation des différents éléments scéniques, parmi lesquels les caméras et les écrans tiennent une place importante, que la corporéité des interprètes ainsi que les modes de réception des spectateurs, entre autres par la mise en place d’une enquête. En trans-contextualisant leurs sources, les artistes instaurent des écarts et creusent de la distance à travers divers procédés : l’incorporation littérale, la citation, la parodie et le pastiche, mais aussi l’ironie et le ton cool fun. La dimension critique de ces œuvres ne s’exerce pas de manière frontale et n’est souvent pas même revendiquée. Loin de la rejeter en bloc, les auteurs et interprètes affectionnent certains objets de la culture des médias de masse. Pour mettre en branle leur fonction critique, ils se situent au cœur même de la « société du Spectacle » et de l’esprit du temps. Ainsi cette critique s’est déplacée de l’extérieur à l’intérieur du champ. Leur démarche mêlant le sérieux au ludique dénote une volonté de ne pas se désolidariser des spectateurs face auxquels ils veulent s’inscrire sur un pied d’égalité pour rendre le dialogue et parfois l’interaction possibles
This thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible

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Scholz, Caio Cezar Pontim. "A crítica de Rousseau à sociedade: a vida pública como espetáculo." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3074.

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Fundação Araucária de Apoio ao Desenvolvimento Científico e Tecnológico do Estado do Paraná (FA)
The study of Rousseau´s philosophical thought, in a contemporary context, allows an interpretation of his work under two distinct aspects. The first one of them tells about the comprehension of its conceptual display, that substantiate its notorious critic potential, which the target is found in the fields of the ethics and the politics, references to the exercise of the public life, understood as form of spectacle, belonging to the modern social organization. The second one provokes the sensation of its critics and conceptual display, somehow, continue actual and can contribute to the comprehension of the spectacle of the public life, demonstrated in the contemporary society. In front of that scenario, when investigating those two possibilities of interpretation, will be shown that some elements of Rousseau´s work are kept in the contemporaneity, others seem to gain a sort of present time according to that contemporary social context and, lastly, some difficulties seem to be overcome due to specificities belonging only to the contemporary society. To accomplish such assumption, the first two chapters will be dedicated to the detailed study of the work of Rousseau, that will serve as the foundation to, in the third, delimit a contemporary social scenario and investigate it to the light of Rousseau.
O estudo do pensamento filosófico de Rousseau, em um contexto contemporâneo, permite a interpretação da sua obra sob dois aspectos distintos. O primeiro deles diz respeito à compreensão do seu aparato conceitual, que fundamenta seu notório potencial crítico, cujo alvo se encontra nos campos da ética e da política, referências para o exercício da vida pública, compreendida como forma de espetáculo, pertencente à ordem social moderna. O segundo provoca a sensação de que suas críticas e aparato conceitual, de alguma forma, permanecem atuais e podem contribuir para a compreensão do espetáculo da vida pública, manifestada na sociedade contemporânea. Diante desse cenário, ao investigar essas duas possibilidades de interpretação, mostrar-se-á que alguns elementos da obra de Rousseau se conservam na contemporaneidade, outros aparentam ganhar uma espécie de atualidade de acordo com esse novo contexto social contemporâneo e, por fim, algumas dificuldades parecem ser superadas em virtude de especificidades pertencentes apenas à sociedade contemporânea. Para realizar tal pretensão, os dois primeiros capítulos serão dedicados ao estudo minucioso da obra de Rousseau, que servirá de fundamento para, no terceiro, delimitar um cenário social contemporâneo e investigá-lo à luz de Rousseau.

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Malta, Renata Barreto [UNESP]. "O espetáculo midiático: da era da informação à sociedade dos sonhos pelos caminhos do Fantástico." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/89399.

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A presente dissertação tem como objetivo demonstrar a transição da Sociedade da Informação à Sociedade dos Sonhos, denominada assim por Jessen (1999), que já começa a deixar suas marcas. Para tanto, utilizamos como corpus o objeto de estudo o programa Fantástico, da Rede Globo. Pareceu-nos pertinente acompanhar a trajetória desse programa televisivo para entendermos como o espetáculo da mídia televisiva se faz presente. Através da observação e análise do corpus percebemos as características mais relevantes desse espetáculo, e, consideramos a demanda pela interatividade e a busca pela visibilidade de sua importância no processo comunicacional midiático. Observamos, ainda, que, como qualquer outra empresa, as emissoras televisivas e seus produtos midiáticos também buscar adequar-se à realidade que desponta. Estamos diante de um cenário voltado à emoção das histórias e deixando paulatinamente a lógica da Sociedade da Informação, cujas raízes estão voltadas `a própria informação. Para tanto, a mídia busca seduzir o público através de narrativas construídas em que o como prepondera em detrimento de o quê se informa
The present dissertation aims to demonstrate the transition between the Information Society to the Dream Society, denominated by Jensen (1999), which has already started to print its marks. Therefore, we used a corpus and object of study the TV program Fantastico, from Rede Globo. It seemed pertinent to follow the journey of this TV program to understand the shape of the spectacle produced by the media. By observation and analysis of the corpus, we noticed the most relevant characteristics of this spectacle, and, we consider the demand for interactivity and the need for visibility fairly important in the communicational process of the media. We observed that, as any other company, the television channels and their products also make efforts to be adapted to the reality that comes. We are facing to a scenery which focuses in the emotion of the stories and leaving the logic of the Information Society, which roots are focusing to the informatin. Therefore, the media seeks to seduce the audience through built narrative where how preponderate in relation to what is informed

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Schultz, Heath. "But neither wood nor fire find any peace or satisfaction In any warmth, great or small, or in any resemblance between them, until the moment when the fire becomes one with the wood and imparts its own nature to it. Or: how two fragments meet and a film is made." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2628.

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Malta, Renata Barreto. "O espetáculo midiático : da era da informação à sociedade dos sonhos pelos caminhos do Fantástico /." Bauru : [s.n.], 2009. http://hdl.handle.net/11449/89399.

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Orientador: Adenil Alfeu Domingos
Banca: Rosangela Marçolla
Banca: Ana Silvia Lopes Davi Médola
Resumo: A presente dissertação tem como objetivo demonstrar a transição da Sociedade da Informação à "Sociedade dos Sonhos", denominada assim por Jessen (1999), que já começa a deixar suas marcas. Para tanto, utilizamos como corpus o objeto de estudo o programa Fantástico, da Rede Globo. Pareceu-nos pertinente acompanhar a trajetória desse programa televisivo para entendermos como o espetáculo da mídia televisiva se faz presente. Através da observação e análise do corpus percebemos as características mais relevantes desse espetáculo, e, consideramos a demanda pela interatividade e a busca pela visibilidade de sua importância no processo comunicacional midiático. Observamos, ainda, que, como qualquer outra empresa, as emissoras televisivas e seus produtos midiáticos também buscar adequar-se à realidade que desponta. Estamos diante de um cenário voltado à emoção das histórias e deixando paulatinamente a lógica da Sociedade da Informação, cujas raízes estão voltadas 'a própria informação. Para tanto, a mídia busca seduzir o público através de narrativas construídas em que o "como" prepondera em detrimento de "o quê" se informa
Abstract: The present dissertation aims to demonstrate the transition between the Information Society to the "Dream Society", denominated by Jensen (1999), which has already started to print its marks. Therefore, we used a corpus and object of study the TV program "Fantastico", from "Rede Globo". It seemed pertinent to follow the journey of this TV program to understand the shape of the spectacle produced by the media. By observation and analysis of the corpus, we noticed the most relevant characteristics of this spectacle, and, we consider the demand for interactivity and the need for visibility fairly important in the communicational process of the media. We observed that, as any other company, the television channels and their products also make efforts to be adapted to the reality that comes. We are facing to a scenery which focuses in the emotion of the stories and leaving the logic of the Information Society, which roots are focusing to the informatin. Therefore, the media seeks to seduce the audience through built narrative where "how" preponderate in relation to "what" is informed
Mestre

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Peng, Lei. "Rock en Chine : contestation et consommation depuis les années 1980." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30040/document.

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Si « Rock » dans le monde occidental est marqué par ses traits subversifs et politiques à certaines périodes historiques spécifiques pour être ensuite entièrement récupérée par la raison marchande, son histoire a été prolongée avec son appropriation environ trente ans après en République Populaire de Chine. Ainsi, le Yaogun, dénomination commune du Rock en Chine est depuis son émergence imbriqué dans la constitution d'une « nouvelle Chine socialiste » calquée sur le modèle de « l'État-nation » : « une démarche mimétique par rapport au système occidental, un système, couplé d’idéologies, qui s’est avéré avec la première guerre mondiale non seulement politico-économique mais de plus scientifique et technologique » selon les expressions du Gregory Lee. En même temps, cette construction de « l’État-nation chinois socialiste » est depuis le début véhiculée par les mécanismes de la « mondialisation » économique, culturelle et idéologique selon une logique capitaliste. Cette thèse présente le Rock comme un acteur social qui représente et traduit la société chinoise prise dans la transition radicale et structurelle, d’une société considérée comme « ex-socialiste » vers une société de consommation et spectacle depuis les années 1980. Par ses propres transformations, ses tentatives contestataires et ses récupérations par la consommation, le Yaogun se réapproprie des schèmes, des images et des notions hérités à la fois du Mythe du Rock daté d'un demi siècle, et de « l'Occident » dont il réinterprète le sens originel. Pour ce faire, il sollicite inévitablement des éléments « propres » à la Chine - gestuel ou symbolique – qui pourrait amener à la revendication (ou non) d'une spécificité culturelle propre. Avec cette analyse, nous avons tenté d’une part de démontrer la complexité et les contradictions voilées derrière l'apparence homogène de la production de cette société du spectacle et de consommation qu’est la Chine actuelle, et d’autre part de démystifier la circulation hégémonique sur le plan des connaissances scientifiques du monde actuel. Ce travail est le fruit d’une réflexion alimentée par deux parcours parallèles et complémentaires en Études sur la Chine contemporaine et « Cultural Studies », s’inspirant des différentes approches théoriques transdiciplinaire dans les domaines des sciences sociales et humaines. Il traite la question des relations entre la musique populaire, le Rock, le pouvoir politique et économique ainsi que la vie quotidienne dans le monde chinois contemporain. Enfin ce questionnement dit « local » a par la suite suscité une réflexion critique sur la réalité dominant le monde actuel : « la mondialisation marchande »
Born at the same time as the “30 years of China’s Reform and Opening" political discourse, Rock music in China (Yaogun) at its outset is often understood as an ideological weapon with a somewhat “revolutionary” touch to it against the Communist orthodox principles. This is mainly due to some values known as part of the Rock Myth, such as individual freedom, social equality and democracy.However, since the 1980s, there has been a significant transformation in the People's Republic of China (PRC): the shift to a free-market economy and the opening of the country to outside influence have led to the resurgence of a relevant social and cultural diversity. In the meantime, the new ideologies, technologies and mode of economy unavoidably brought about the commodification of the so-called “Chinese Culture” as part of the modern Chinese “Nation-State” construction, both at the level of the authority’s cultural policy and of the collective social imaginary, including the commodification of the so-called “Chinese Rock” or Yaogun. After one decade of development in the 1990s, generally speaking, China’s Rock or “underground” turned out to stay away from politics. It became hip, professionally organized, commercial and partly moving “overground” (not about revolution, but about everyday life). Similarly to other forms of art and cultural production in contemporary China, Rock also engaged in a complex and creative relationship with the PRC’s revolutionary heritage. From the late 1980s onwards, Yaogun has developed from being a rebelling voice in opposition to the ideology of the Chinese authorities to representing a subject of commodification by different agencies in sharing the same signs of the PRC’s revolutionary heritage. This dissertation attempts to shed some light on the complexities and contradictions involved in the tremendous social and cultural transformations of post-socialist China through the rock music scene. It brings into play the sociology of Rock music, Cultural Studies, together with the production and spreading of the culture and ideology of contemporary Chinese society

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Berthelot, Martin R. "Spectacle and Resistance in the Modern and Postmodern Eras." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24272.

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The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252

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Cannon, Patrick Owen. "Communication for Planetary Transformation and the Drag of Public Conversations: The Case of Landmark Education Corporation." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002150.

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Queirós, Rosangela Aparecida de. "Do sonho americano à forma mercadoria: uma leitura de Zelig de Woody Allen." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30042015-185905/.

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O objetivo desta dissertação é apontar para a duplicidade narrativa a partir da qual a história Zelig (1983) é contada. Por um lado, tem-se um narrador tradicional de um documentário em voz over, no entanto, sua forma de narrar acaba por revelar aspectos deste gênero como produção dentro da Indústria Cultural. Por outro lado, tem-se outra instância narrativa, conhecida como autor implícito, que coloca elementos em cena para que o espectador consiga ter uma leitura totalizadora da obra. Ademais, o filme Zelig, como produção cultural do início dos anos 1980, revela os desdobramentos e consequências de viver segundo uma ordem social pós-moderna. Observa-se, dentre outros fatores, a forma-mercadoria dominando todas as instâncias da vida social, além da espetacularização da sociedade presente em diversos aspectos da vida moderna.
The aim of this dissertation is to point to the narrative duplicity from which the story Zelig (1983) is told. On the one hand, there is a traditional voiceover documentary narrator, however, his way of narrating ends up revealing aspects of this genre as a production within the Cultural Industry. On the other hand, there is another narrative instance, known as implied author, who adds elements in the scene so that the viewer can have a totalizing reading of the work. Furthermore, Zelig, as cultural production from the early 1980s, reveals the ramifications and consequences of living according to a post-modern social order. We observe, among other factors, the commodity-form dominating all levels of social life. Moreover, the spectacularization of this society found in many aspects of modern life.

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Parra, Jose Dario Vargas. "Situações: da tecnologia à interação entre arte e política." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-06072017-112340/.

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O objetivo de Situações: da Tecnologia à interação entre Arte e Política é a apresentação de modos pelos quais a experiência estética no espaço urbano pode gerar atos de resistência capazes de uma expressão efetiva no âmbito da prática política. Trata-se da criação de experimentações estéticas por meio de operações poéticas que têm como recurso a utilização das tecnologias teleinformáticas. A hipótese é de que a eficácia estética desses experimentos, com o uso dos dispositivos teleinformáticos, evidencia as potencialidades político-ideológicas contidas na mídia, cujos usos costumeiros têm se prestado mais amplamente aos propósitos da ordem e à reprodução ampliada da produção capitalista. Nesse contexto, o conceito de \"situação\" tem particular relevo para a experimentação poética, ele expressa a ideia central do movimento Internacional Situacionista (IS), que consiste na adoção de um \"comportamento experimental poético\" como procedimento de intervenção afetiva no ambiente urbano convencional, cotidiano, visando sua transformação \"em uma qualidade passional superior\". Em Situações: da Tecnologia à interação entre Arte e Política, a partir da criação de um conjunto de situações procura-se constituir uma poética de subversão, cujo objetivo central é a instauração de um campo estético propício para novas experiências comunitárias em rede, aberto à participação coletiva, ao diálogo e à mudança de certos modos de produção. As operações poéticas efetuadas almejam também contribuir para a produção de conhecimento interdisciplinar acerca dos dispositivos de dominação política, no estágio de desenvolvimento capitalista em que a produção de bens culturais tornou-se fundamental à própria reprodução ampliada do capital, por meio da construção de duas situações: \"Intransferência\" e \"Unidade Tática de Comunicação Ativa - UTCAt\" e outros experimentos poéticos, trabalhos migrantes que, desarticulados das situações, mantém com elas estreita familiaridade.
The present work, Situations: from Technology to interaction between Art and Politics, aims to present ways through which aesthetic experiences in urban spaces generate resistance acts capable of an effective expression within the political practice. It is constituted by aesthetic experiments via poetic operations which resort to teleinformatics technologies. The hypothesis is that the aesthetic efficacy of such experiments, which use teleinformatics devices, makes evident the political-ideological potentialities contained in such media, which have been more commonly used in support of the Order and for the enhanced reproduction of capitalist production. In this context, the concept of \'situation\' is of much consequence for poetic experimentation, it expresses the key Idea of the Situationist International (SI) movement, which consists in the adoption of an \'experimental behavior\' as an affective intervention procedure in the conventional everyday urban environment, targeting its transformation into \'a higher passional quality\'. In Situations: from Technology to interaction between Art and Politics, stemming from the creation of a set of situations, we attempt to build a poetics of subversion, whose central objective is instituting a favorable aesthetic field for new community web experiences, open to collective participation, to dialogue and to the change of certain modes of production. The poetic operations carried out also intend to contribute to the production of interdisciplinary knowledge about the political domination devices, in the stage of capitalist development in which the production of cultural goods has become fundamental to the very amplified reproduction of capital itself, by means of the construction of two situations, \'Intransference\' and \'Tactical Unit of Active Communication - TUAcT, along with other poetic experiments, migrating works which, albeit not articulated with the situations, keep with them a close familiarity.

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Almeida, Clarissa Freitas de. "Ginástica Rítmica: Trabalho, corpo e espetáculo: uma análise da relação entre a Ginástica Rítmica e a sociedade contemporânea." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7972.

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Esta dissertação tem como objetivo relacionar o trabalho da atleta de Ginástica Rítmica.(GR) e a formação de subjetividades na sociedade contemporânea. A visão sobre o trabalho da atleta de GR é formada a partir da entrevista de três ex-atletas. A perspectiva da formação de subjetividades na contemporaneidade é verificada a partir da pesquisa bibliográfica de autores como György Lukács, Richard Sennett, Michel Foucault, Vera Lúcia Soares, Guy Debord e Valter Bracht. A relação entre a sociedade capitalista e a modalidade esportiva é estabelecida através da análise de três grandes eixos que as atravessam: a questão do trabalho, a questão do corpo e a questão do espetáculo. Partindo do pressuposto de que o trabalho é constituinte do ser social, define-se a ginástica como um trabalho, discute-se o significado do trabalhar na sociedade contemporânea e analisa-se as condições de profissionalização e prática do Esporte no Brasil. Sobre a questão do corpo, observa-se a forma como o corpo é utilizado pelas atletas e as relações de proximidade com o uso do corpo pelo sujeito contemporâneo. Ainda, compara-se a forma como as atletas relatam sua experiência de apresentação da série com espetacularização da sociedade descrita por Debord. A conclusão revela que o as atletas atingem um grau de contato e discussão com temas do esporte de alto rendimento presentes na sociedade (tais como competitividade e sucesso) que extrapolam os estigmas que poderiam ser a elas atribuídos

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Huguet, Thibault. "La société connectée : contribution aux analyses sociologiques des liens entre technique et société à travers l'exemple des outils médiatiques numériques." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30002/document.

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Initié depuis plusieurs décennies, le développement des techniques numériques marque de son empreinte profonde les esprits et les corps de nos sociétés contemporaines. Plus qu'un simple fait de société, il semble admis que nous assistons aujourd'hui à une véritable « mutation anthropologique ». Cependant, alors que les analyses des liens entre technique et société ont longtemps été marquées par des perspectives déterministes, nous proposons d'explorer dans cette thèse les relations dynamiques étroites qui font qu'une technique est éminemment sociale, et qu'une société est intrinsèquement technique. En adoptant un regard résolument compréhensif, cette recherche entend mettre en évidence les significations et les systèmes de sens qui entourent l'utilisation des outils médiatiques numériques, à une échelle macro-sociale et micro-sociale, pour expliquer causalement la place que nous accordons à cette catégorie spécifique d'objet. Les dynamiques à l’œuvre, tant à un niveau individuel que collectif, sont examinées de manière socio-logique, tour à tour dans une perspective historique, philosophique, économique, politique, sociale, et culturelle. En tant qu'artefacts-symboles de nos sociétés actuelles – objets sociaux totaux –, les médias numériques sont les outils techniques à partir desquels nous organisons la contemporanéité de notre rapport au monde : nous les concevons donc comme un prisme sociologique à partir desquels il est possible d'appréhender la société connectée
Initiated for several decades, the development of the digital technology mark by its deep stamp the minds and the body of our contemporary society. More than a simple social phenomenon, it seems to be generaly agreed that we assist today at a true « anthropological mutation ». Nevertheless, while the analyses of the links between technology and society have been characterized for a long time by some deterministic prospects, we propose to explore in this thesis the dynamic relations which make that a technic is eminently social, and that a society is intrinsically technic. Adhering to a comprehensive approach, this research seeks to highlight the significations and the meaning systems related to the use of digital media tools, at a macro-social and a micro-social scale, to explain causally the importance we ascribed to this specific category of objects. The dynamics at work, both at an individual or collective level, are examinated in a socio-logical way, alternately with an historical, philosophical, economical, political, or socio-cultural point of view. As artefacts-symbols of our present day societies – total social object –, the digital media are the tools upon which we organize the contemporaneity of our relationship with the world : we regard them as a sociological prism from which it possible to grasp the connected society

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Deroche, Sophie. "L'esthétique grotesque chez Lydie Salvayre, Tim Burton et Terry Gilliam : dénonciation et échappatoire de la société contemporaine du simulacre." Thesis, Reims, 2013. http://www.theses.fr/2013REIML003.

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Les œuvres de l'écrivain française Lydie Salvayre et des cinéastes américains Tim Burton et Terry Gilliam présentent une même dénonciation de la société du simulacre à travers une esthétique grotesque. Ils contestent dans leurs œuvres la pratique de la novlangue, celle du politiquement correct et le mélange de la réalité avec la fiction. Le fonctionnement dialectique du grotesque et sa capacité à procurer un vertige étonnant lui permet de rendre visible ces contradictions. La modification de l'imaginaire par la société de consommation et du simulacre les préoccupent particulièrement, car les auteurs observent que la transformation des signes en simples signifiants, dont le postmodernisme illustre le fonctionnement, conduisent l'individu à avoir un rapport déformé à la réalité, à la conscience historique et au symbole. Le grotesque est cette esthétique qui leur permet de former des mélanges dans leurs œuvres en préservant l'identité des signifiés et de restaurer ainsi un rapport à l'Histoire et au symbole. Le grotesque est cette esthétique qui permet le mélange sans équivalence, car elle donne à voir les contraires et leur confère du sens. Les auteurs lient leurs œuvres grotesques au mythe, cette fiction particulière qui permet d'avoir un rapport instinctif à la connaissance par le biais d'images particulièrement fortes. Le grotesque, dans sa dimension anthropologique et ontologique, réhabilite en définitive des fictions qui échappent aux problématiques du simulacre
The works of Lydie Salvayre, American movie directors Tim Burton and Terry Gilliam present a similar criticism of a society of simulacrum, by their use of the aesthetically grotesque. In their work, they question the use of newspeak, of the politically correct, and the mixing of reality and fiction. The dialectical working of the grotesque and its ability to produce an astonishing sense of vertigo enables it to bring out these contradictions. They are particularly concerned by the extent to which a society of consumption and simulacrum has modified the imaginary. These autors have observed that the transformation of signs into mere signifiers, something the workings of which are demonstrated in postmodernism, leads the individual to have a distorted relationship with reality, historical awareness and the symbol. The grotesque is that aesthetic form which allows them to make mixes in their work whilst preserving the meaning of the signified and which thereby allows them to restore a relationship to history and the symbol. The grotesque is that esthetic form which allows them to make mixes with no equivalent, since it shows opposites whilst conferring sense on them. The autors link their grotesque works to myth, that kind of fiction which enables us to have a instinctive relationship to knowledge by the means of particularly strong images. When all is said and done, the grotesque, in its anthropological and ontological dimension, reinstates a fiction which avoids the problems of simulacrum

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Bouvier, Hélène. "Les Arts du temps et du spectacle dans la société madouraise (Madura-Est, Indonésie)." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0049.

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L'etude de terrain a ete menee de septembre 1985 a fevrier 1987, dans la partie orientale de l'ile de madura (indonesie). Methode d'observation participante liee a un sejour fixe dans un village, entretiens avec specialistes, amateurs et public, enregistrements audio et video, et leurs transcriptions, notations musicales, enquetes systematique menee en fin de sejour aupres de 37 familles villageoises sur les gouts et pratiques artistiques, et observation directe de 160 seances, furent les methodes qui permirent de constituer le corpus d'etude, croisant les necessites de l'ethnographie et de l'etude thematique. Le chapitre i presente le support musical incontournable de ces pratiques. Dans le chapitre ii, l'auteur s'est attachee a ordonner le corpus tres varie des genres artistiques vivants de cette region, livrer quelques reperes quant a la structure des seances et au repertoire, degager les differenciations regionales, esquisser une chronologie. Le chapitre iii analyse comment sont mis en oeuvre le corps, la voix et les techniques extra-corporelles. Le chapitre iv est consacre aux conditions de temps, de lieu, d'organisation economique et humaine necessaire a l'apprentissage, la pratique, et la reception par un public, ainsi qu'aux tendances et evolutions les plus recentes. Indissociables de la vie quotidienne, ces pratiques artistiques constituent des tentatives de solution et de reponse a des problemes et aspirations tant individuels que collectifs, et comptent comme les elements de strategie de survie, de prestige, de pouvoir economique ou politique
Fieldwork was carried out from september 1985 to february 1987, in the eastern part of the island of madura (indonesia). Participant observation through residence in a village, interviews with specialists, amateurs and audiences, audio and video recordings and their transcriptions, musical notations, systematic surveys conducted near the end of the fieldwork on the artistic tastes and practices of 37 families, and direct observation of 160 performances were the methods enabling the constitution of the corpus of study, addressing the need for ethnographic and thematic study. Chapter i presents the inevitable musical support for these practices. In chapter ii, the author classifies the varied corpus of the region's living artistic genres, offering guidelines concerning performance structure and repertoire, identifies regional differentiation and provides a chronological frame. Chapter iv is devoted to spatial, temporal, economic and human conditions necessary for learning, practice and for reception by an audience, and to the most recent developments. Grounded in daily life, these artistic practices constitute attempted solutions and responses to problemes and aspirations that are both individual and collective, and may be seen as strategies for survival, prestige, or for economic or political power

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Souza, Daniel Maurício Viana de. "Divulgação científica em museus e centros de ciência interativos : a construção social de uma ciência-espetáculo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142489.

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Esta tese objetiva analisar a representação social da ciência resultante das ações de divulgação científica desempenhadas em exposições de museus e centros de ciência interativos. Partindo da premissa de que para a promoção de canais de comunicação pública, democrática e integradora acerca da ciência e sua produção é necessário o entendimento de que tais fenômenos se inserem numa relação de dependência e reciprocidade com demais elementos que compõem o tecido social, discute acerca dos fatores que impossibilitam um diálogo capaz de identificar com clareza que a ciência é, em última instância, socialmente construída. A insistência na adoção de linguagens pautadas em uma historicidade progressivamente retilínea e num superestímulo visual massificador de ‘imagens/aparência’, vem contribuindo para a afirmação de uma ideia universal e homogênea de ciência, ou seja, aprocessual e produtora de conhecimentos irrefutavelmente verdadeiros. Assim considerando, toma aqui a noção de ‘sociedade do espetáculo’ tanto como teoria sobre a sociedade, quanto, condição social que se projeta de forma verticalizada sobre a divulgação científica operada em instituições museológicas, implicando diretamente na construção da ciência e seus significados sociais. Tal condicionamento exercido pelo ‘espetáculo’ se sustenta, portanto, em dois vetores ideológicos fundamentais, por um lado, a ‘imagem’ tomada como ‘aparência’, configurando um território linguístico-narrativo pautado na alienação, na naturalização e na universalização. E por outro lado, a ‘historicidade’ como supressão do tempo social – socialmente construído –, delineando um quadro no qual a comunicabilidade é baseada na ausência de processos, na concepção do tempo como mercadoria, no conceito de ‘ideia fora do lugar/tempo’ e no pressuposto da neutralidade (científica). Do ponto de vista empírico, opta por investigar diferentes exposições em quatro museus e centros de ciência interativos, no Brasil e em Portugal, implementando as técnicas da observação e da entrevista fundamentalmente.
This thesis aims to analyze the social representation of science as a result of the actions of scientific divulgation performed in exhibitions from interactive museums and science centres. Starting from the premise that the promotion of public communication channels, democratic and inclusive about science and its production is necessary to the understanding that such phenomena are in a relationship of dependency and reciprocity with other elements that make up the social structure, discusses about the factors that prevent a dialogue capable of identifying with clarity that the science is ultimately, socially constructed. The insistence on adoption of languages based on a rectilinear and progressively historicity and in a super-stimulus visual massive of ‘images/appearance’, has contributed to the affirmation of a universal and homogenous idea of science, in other words, a-processual and producer of irrefutably true knowledge. So considering, here takes the notion of 'society of the spectacle' as much a theory of society, as, social condition that is projected in a vertical way on the scientific divulgation operated in museological institutions, implying directly in the construction of science and their social meanings. This conditioning exercised by the 'spectacle' is based, therefore, on two fundamental ideological vectors, on the one hand, the 'image' as 'appearance', setting up a linguistic and narrative territory based on alienation, naturalization and universalization. And on the other hand, the 'historicity' as suppression of social time - socially constructed - outlining a framework within which the communicability is based on the absence of processes, in the conception of time as a commodity, in the concept of 'idea out of place/time' and the premise of neutrality (scientific). From an empirical point of view, chooses to investigate different exhibitions in four interactive museums and science centres, in Brazil and Portugal, implementing the techniques of observation and interview, fundamentally.

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Sambou, Diomba. "Accumulation spectrale pour les Hamiltoniens quantiques magnétiques." Phd thesis, Université Sciences et Technologies - Bordeaux I, 2013. http://tel.archives-ouvertes.fr/tel-01059664.

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Dans cette thèse on s'interesse à l'étude de phénomènes d'accumultation spectrale de certains opérateurs issus de la physique quantique à savoir les opérateurs de Schrödinger, de Pauli, et de Dirac. Typiquement, ces opérateurs apparaissent dans la modélisation de certains problèmes de physique sous forme d'équations d'évolution. Selon les contraintes du problème physique, ils peuvent être associés ou non à un champ magnétique pouvant être constant ou non constant. Le cadre où le champ magnétique est dit admissible est celui que nous allons considérer (en dimension 3). Ce dernier cadre inclut en particulier le cas de champs magnétiques constants. Deux grands thèmes sont essentiellement abordés dans cette thèse : l'étude des résonances près de seuils des Hamiltoniens quantiques cités ci-dessus lorsqu'ils sont perturbés par des potentiels électriques auto-adjoints, et l'étude de leur spectre discret lorsqu'ils sont perturbés par des potentiels électriques non auto-adjoints. Le second thème sera exploré au moyent d'inégalités Lieb-Thirring généralisés.

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Silva, Naiene Sanchez. "Sobre a invenção dos próprios fins: gestão híbrida nos Centros Educacionais Unificados (CEUs)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-22012015-110613/.

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Os Centros Educacionais Unificados (CEUs) estão localizados em regiões carentes de infraestrutura e de serviços. Os CEUs, situados em diferentes pontos do município de São Paulo, foram implantados no ano de 2003 e estão comprometidos com a proposição e execução de políticas públicas destinadas a atender demandas educacionais, culturais e esportivas. O projeto do CEU prevê uma gestão compartilhada a ser realizada por diversas instâncias. A proposta de uma gestão conduzida a partir da interação entre distintas partes permite refletir sobre a possibilidade de hibridação entre órgãos públicos e sociedade civil. O CEU deveria ser reconhecido como espaço polifônico que privilegia a produção de conhecimento e o protagonismo dos indivíduos; nele os cidadãos devem agir coletivamente, desenhando uma gestão orientada por processos democráticos. Esta pesquisa destina-se a compreender a proposta de gestão dos CEUs e, especialmente, observá-la em terreno prático. Para compreender a complexidade dessa proposta, faz-se um investimento de estudos na gestão cultural do CEU. Esse estudo se direciona rumo a esta empreitada a partir de um mapa conceitual destinado a tratar de questões referentes ao escopo da cultura, somado à análise das diretrizes que orientam o projeto que deu origem ao CEU e à reflexão crítica associada às ideias do sociólogo francês Guy Debord sobre a experiência prática que pode ser acompanhada dentro do setor de cultura que compõe o dispositivo. A gestão do CEU pode ser um primeiro passo para outros mais complexos que extrapolam os limites do dispositivo; no entanto, verifica-se uma série de entraves que adiam essa possibilidade
The Unified Educational Centers (CEUs) are located in regions damaged by lack of access to different services. The CEUs are located at different places in São Paulo. They were established in 2003 and they have been committed to the proposition and execution of public policies to attend educational, cultural and sporting demands. The design provides a shared manager to be held jointly by several instances managed. The proposed management conducted from the interaction betwee different parts may allows us to refer it as a possible possibility of hybridization between social spheres, public agencies and the society. The CEU should be recognized as a polyphonic space that emphasizes learning. There citizens should act collectively drawing a management guided by democratic processes. This research aims to understand the CEU\'s management that have been proposed looking at the practical views. To understand the complexity of this proposal we have to return our gaze to one of the instances that participate on it. That is, in trying to understand the management of the structure, we will invest our studies in cultural management of CEU. This study throws himself towards this endeavor from a conceptual map designed to address issues relating to the scope of culture, coupled with analysis of guidelines that guide the project that gave rise to the CEU, and critical reflection associated with the ideas of sociologist Guy Debord on the practical experience that could be followed within the culture that belongs to the device industry. We conclude that the management of CEU may be a first step to more complex ones that go beyond the limits of the structure and at the same time, we found a number of barriers that delay that possibility

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Hintze, Helio César. "Ecoturismo na cultura de consumo: possibilidade de educação ambiental ou espetáculo?" Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/91/91131/tde-14102008-145041/.

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O presente trabalho tem por objetivo estudar o ecoturismo. Buscou-se averiguar a existência de uma preocupação com a educação ambiental (e quais os princípios que a regem) nas atividades e pacotes ecoturísticos comercializados pelo mercado. Para atingir tal objetivo, procurou-se conhecer o termo ecoturismo a partir das perspectivas da cultura de consumo e da sociedade do espetáculo e sob tal enfoque discutir suas relações com temas como turismo e consumo, natureza e educação ambiental; buscou-se também identificar as bases filosóficas do trabalho ecoturístico (particularmente em sua relação com a questão da educação ambiental) desenvolvido pelas operadoras de tais atividades; e por fim, realizar crítica conceitual acerca das relações entre os assuntos abordados pela dissertação. Foram entrevistadas 03 operadoras do mercado ecoturístico e 03 pesquisadores de áreas relacionadas aos temas propostos. O texto da dissertação foi produzido a partir das informações obtidas por levantamento bibliográfico em diálogo com as opiniões obtidas nas entrevistas no trabalho de campo. Concluiu-se que o ecoturismo como atividade de mercado é pouco utilizado para a disseminação da consciência ambientalista por conta das operadoras terem uma visão da educação ambiental que a aproxima da educação formal e que tal característica não deve ser integrada às atividades turísticas momentos de diversão e lazer; constatou-se também que o ecoturismo é uma atividade que produz subjetividade consumista nos participantes do processo e reafirma o tempo espetacular do capital.
The present work aims to study the ecotourism. It has investigated the existence of a preoccupation with the environmental education (and its leading principles) in the activities and ecotourism packages traded on the market; to achieve such aim it has searched to understand the term ecotourism from the culture of consumption and society of the spectacle perspective, and under such view, to discuss its relation with themes such as tourism and consumption, nature and environmental education; It has searched to identify the philosophical basis of the ecotourism work (particularly in its relation with the environmental education matter) developed by the operators of such activities; and finally, to do a conceptual critic on the issues considered on this essay. 03 operators of the ecotourism market and 03 researchers of areas related to the theme here proposed were interviewed. This essay was written based on the information collected through bibliographic research and opinions gathered in the interviews on the field work. It was concluded that the ecotourism as a market activity isnt much used to spread the environmental awareness due to the fact that the operators have a view of environmental education close to a formal education and such characteristic shouldnt be integrated to the tourism activities fun moments and leisure; it was also noticed that the ecotourism is an activity that evokes consumption patterns among its participants and reassures the capital´s spectacular time.

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Silva, Francisco Sérgio Barbosa da. "O papel do livro de mesa na sociedade do espetáculo." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4614.

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Made available in DSpace on 2016-04-26T18:14:05Z (GMT). No. of bitstreams: 1 Francisco Sergio Barbosa da Silva.pdf: 15404087 bytes, checksum: 285916653d969678f1ae0f48ce4417ea (MD5) Previous issue date: 2014-04-28
The object of this research work is to study the tabletop book and its role in the market. The tabletop book, also known as the coffee table book, belongs to a generic category of works that are marked, first, by their esthetic characteristics and by the use that is made of them. Since they have appealing titles, and artistic and luxurious finishing, they become products to be admired and appreciated, and are displayed prominently, instead of arranged, even hidden, on bookshelves. Thus, they function as part of a device for socio-cultural acknowledgment, promoting and revealing those who put the books on display. That feature leads us to the thesis that these works are the editorial symbol of their times, the so-called society of the spectacle (DEBORD). In a world accustomed to the hyper-production of images, we are interested in investigating to what point the works that are notable for their visual and physical impacts can contribute to the discussion regarding print/digital reproduction, considering that tabletop books are basically are justified by their body and not only by their contents, and they might cease to exist, if put into a form other than what is currently used. This study deals with the following main themes: a) insertion of the object in modern/contemporary society, in light of media and cultural phenomena (ADORNO, AGAMBEM, BAUDRILLARD, DEBORD, DELEUZE, ECO,FOUCAULT, FLUSSER, JAMESON, LIPOVETSTKY, McLUHAN, PERNIOLA, WILLIAMS); b) insertion of the object in the historiography of books and of the editorial market (BURKE, CHARTIER, DARNTON, EPSTEIN, SCHIFFRIN, THOMPSON): c) treatment of the book as a product that is symbolic (BOURDIEU), fetishistic (HAUG, RÜDIGER), and of specific value (BENJAMIN, GORZ); d) use of the body concept, based on Bodymedia Theory (KATZ and GREINER). In order to show how tabletop books came into existence and became established, a case study was done of one of the world-renowned publishing companies that best represents this category, Germany s TASCHEN, known as The king of the coffee table book . The state of the art of the polemics regarding the current transformations of the editorial market does not deal specifically with tabletop books, despite being a phenomenon of today s society, which is on display in homes, reception areas, stores, and style and decoration publications
Esta pesquisa tem como objeto de estudo o livro de mesa e seu papel no mercado. Livro de mesa, também chamado de coffee table book, pertence a uma categoria genérica de obras que se destacam, primeiramente, pelas características estéticas e pelo uso que se faz delas. Por serem títulos chamativos, com acabamento artístico e luxuoso marcante, tornam-se produtos de apreciação e até culto, ficando expostos em lugar de destaque, em vez de acomodados em estante. Funcionam, assim, como parte de um dispositivo (AGAMBEM) de reconhecimento sociocultural, promovendo e revelando quem os expõem. Tal característica nos impulsiona a trabalhar com a hipótese de que essas obras são o símbolo editorial do seu tempo, a dita sociedade do espetáculo (DEBORD). Num mundo de hiperprodução de imagens, nos interessa investigar em que medida as obras que se notabilizam pela visualidade e fisicalidade podem contribuir para a discussão sobre o impresso/digital, considerando que os livros de mesa se justificam, fundamentalmente, pelo corpo, e não apenas pelo conteúdo, deixando de existir em outra forma que não seja a atual. Este estudo articula os seguintes eixos temáticos: a) inserção do objeto na sociedade moderna/contemporânea, à luz de fenômenos midiáticos e culturais (ADORNO, AGAMBEM, BAUDRILLARD, DEBORD, DELEUZE, ECO, FOUCAULT, FLUSSER, JAMESON, LIPOVETSTKY, McLUHAN, PERNIOLA, WILLIAMS); b) inserção do objeto na historiografia do livro e do mercado editorial (BURKE, CHARTIER, DARNTON, EPSTEIN, SCHIFFRIN, THOMPSON): c) tratamento do livro como produto simbólico (BOURDIEU), fetichista (HAUG, RÜDIGER) e de valor específico (BENJAMIN, GORZ); d) uso do conceito de corpo a partir da Teoria Corpomídia (KATZ e GREINER). Para mostrar como os livros de mesa surgiram e se consolidaram, foi realizado o estudo de caso de uma das editoras mundialmente conhecidas que melhor representam essa categoria, a alemã TASCHEN, tida como The king of coffee table book . O estado da arte da polêmica sobre as transformações atuais do mercado editorial não contempla especificamente o livro de mesa, apesar de ser um fenômeno da sociedade atual, em destaque em casas, recepções, lojas e editoriais de estilo e decoração

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Bento, Liliana Leonor Miranda. "A abordagem televisiva dos incêndios florestais em Portugal: análise das peças dos noticiários televisivos da RTP e TVI em 2011." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2013. http://hdl.handle.net/10400.5/6506.

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Tese de Mestrado em Comunicação Social
Esta dissertação de Mestrado teve como principal objectivo analisar a cobertura noticiosa televisiva dos incêndios florestais em Portugal à luz da corrente pós-modernista, de modo a avaliar a informação transmitida sobre a temática em questão. A intenção fundamental deste trabalho de investigação foi compreender - para além do relato de factos relacionados com a protecção de pessoas e bens, em caso de incêndios florestais, característica das notícias televisivas - o peso e a importância dada ao património florestal português. Para isso, a metodologia aplicada foi a Análise de Conteúdo e a Entrevista qualitativa semi-estruturada. A principal conclusão desta dissertação é que a abordagem televisiva predominante é a de uma informação pós-modernista, centrada na espectacularização do fenómeno fogo e no drama humano. A floresta enquanto património ambiental, histórico e económico não é valorizada nas peças dos noticiários televisivos quer da RTP quer da TVI.
This Master’s dissertation analyses broadcast news of forest fires in Portugal and the information conveyed according to postmodernism. Besides understanding the information on the protection of people and goods, which is intrinsic to forest fire news, this investigation project also seeks to understand the importance given to the Portuguese forest heritage. With that in mind, I’ve chosen to use content analysis and semi-structured qualitative interviews. The main conclusion to reach with this dissertation is that broadcast news are predominantly postmodernist, focusing on the spectacularization of fire and human drama. Environmental, historical and cultural heritage is not valued in broadcast news – neither from RTP nor from TVI.

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Assis, Alline Neves de. "Direitos humanos, sociedade do espetáculo e (in)efetividade das políticas públicas: uma reflexão sobre as consequências constitucionais da espetacularização das políticas públicas voltadas à promoção dos direitos humano-fundamentais." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6179.

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This thesis has the objective of analysis of the shortcomings of the legal means to control the decision-making process with regard to public policies for the promotion and implementation of human-fundamental rights, addressing specifically the problems brought by the phenomenon of "spectacle of policy "on constitutionally proper execution of such public policies. It argues that the legal and constitutional mechanisms to control the legality and effectiveness of such policies are unable to identify and evaluate the role that the media and use media of government actions - aimed at improving approval rates and electoral performance of governments - have the definition in the implementation of such policies, due to the low interdisciplinary permeability of the current juspublicist paradigm to the language of communication science and policies, regarding in particular the current 'culture of the spectacle' which we live and, consequently, the policies culture of the spectacle based on the perspective of the influence that the mass media and networked media have on public opinion, being an important variable considered in the actions and decisions of managers and public administrators. It starts with the criticism of the current theoretical frameworks of Public Law, Constitutional Theory and Theory of Fundamental Rights, as well as reflective and interdisciplinary analysis on the current role of media in political and social life, to explicit, as a central outcome of the investigation, the contradictions and gaps in the current legal and constitutional control instruments of public policy, in ensuring of link them to what's supposed to be the legitimizing goal of all of them: the promotion of human-fundamental rights.
Essa dissertação tem por objeto a análise das insuficiências dos meios jurídicos em controlar o processo de tomada de decisão no que se refere às políticas públicas de promoção e implementação de direitos humano-fundamentais, abordando, especificamente, os problemas trazidos pelo fenômeno da “espetacularização da política” na efetivação constitucionalmente adequada de tais políticas públicas. Defende que os mecanismos jurídico-constitucionais de controle da legalidade e efetividade de tais políticas são incapazes de identificar e avaliar o papel que a mídia e a utilização midiática das ações governamentais – voltadas à melhoria dos índices de aprovação e de desempenho eleitoral dos governantes – possuem na definição e na implementação de tais políticas, em razão da baixa permeabilidade interdisciplinar do atual paradigma juspublicista à linguagem das Ciências da Comunicação e das Ciências Políticas, no que tange, em especial, a atual ‘cultura do espetáculo’ em que vivemos e, consequentemente, a cultura política do espetáculo, baseada na perspectiva da influência que os meios de comunicação de massa e a mídia em rede possuem na opinião pública, sendo uma variável determinante a ser considerada nas ações e decisões dos gestores e administradores públicos. Parte-se da crítica aos atuais referenciais teóricos do Direito Público, da Teoria da Constituição e da Teoria dos Direitos Fundamentais, bem como da análise reflexiva e interdisciplinar no atual papel das mídias na vida político-social, para explicitar, como resultado central da investigação, as contradições e falhas nos atuais instrumentos de controle jurídico-constitucional das políticas públicas, na garantia da vinculação das mesmas àquilo de deveria ser a meta legitimante de todas elas: a promoção dos direitos humano-fundamentais.

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Medeiros, Rosangela de Araujo. "A relação de fascínio de um grupo de adolescentes pelo Orkut: um retrato da modernidade líquida." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-18062008-150730/.

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Esta pesquisa tem o objetivo de abordar uma questão específica da subjetividade na época hipermoderna: a relação de fascínio de um grupo de adolescentes com o site de relacionamentos online Orkut, tendo como pano de fundo a contemporaneidade e os valores da cultura narcísica e da cultura do espetáculo que a sustentam. Para tanto, discorre sobre três aspectos que se inter-relacionam: o contexto da hipermodernidade líquida e digital; as peculiaridades do Orkut e as características psíquicas dos adolescentes. A conjunção desses fatores explica o fascínio, de ordem subjetiva, como uma construção social. Essa análise tem um viés psicossocial, respaldado em autores tais como Zygmunt Bauman, Gilles Lipovetsky, Christopher Lasch e Guy Debord, que interseccionam idéias do campo da Sociologia com conceitos da Psicanálise. Esse quadro teórico desenhou-se a partir de um estudo realizado em duas etapas: a primeira de cunho quantitativo, envolveu 473 adolescentes e pré-adolescentes de uma escola da periferia de São Paulo, com vistas a identificar os usos do computador e da Internet. Nessa amostra, constatou-se que 72 % dos participantes não tinham computador em suas residências, entretanto esta carência não representou impedimento no acesso ao uso, porque 87% utilizavam a máquina em diferentes espaços. Contudo, a escola foi a menos citada e o Orkut um dos usos recorrentes. Para investigar, então, o uso desse site, realizou-se entrevistas semi-estruturadas, com um grupo de 10 adolescentes participantes da primeira etapa. A análise das entrevistas permitiu caracterizar o Orkut como um palco no qual podem ser pseudo-realizados os ideais da sociedade narcísica. Por isso é fascinante, captura o desejo do sujeito. É um espaço virtual em que o adolescente pode \'sair\' momentaneamente de um estado de insatisfação, conflito e ruptura, para um lugar onde pode estar, ter e (a)parecer. Dessa forma, a idealização costura a relação de fascínio pelo Orkut, atrelada às possibilidades de socialização. Verificou-se que os adolescentes buscam responder aos apelos dessa hipermodernidade, mas não deixam de ter prazer em suas atividades corriqueiras do mundo jovem. Culto à aparência, ao hedonismo, à glamourização da auto-imagem, reconhecimento social, fama, popularidade, amizade, vício são temas discutidos neste trabalho e coexistem no Orkut com o interesse de comunicação, reafirmando que, mesmo incentivado o hiper-individualismo e a criação de narcisos digitais, somos seres sociais.
This research aims to address a specific issue of subjectivity in the hipermodern era: the fascination of a group of teenagers with the site of online relationships Orkut, the background of the present and the values of culture and the culture of narcissist spectacle that gives the support. To this end, we talk about three things that are inter-related: the context of hipermodernidade net and digital; the peculiarities of Orkut and the psychological characteristics of adolescents. The combination of these factors explains the fascination of subjective order as a social construction. This analysis has a psychosocial bias, based in authors such as Zygmunt Bauman, Gilles Lipovetsky, Chistopher Lasch and Guy Debord, who explore ideas in the field of sociology with concepts of psychoanalysis. This theoretical framework is developed from a study conducted in two stages: the first is quantitative, involving 473 adolescents and preadolescents of the poor suburb of an school in Sao Paulo, with the objective of identifying the uses of the computer and the Internet. In this sample, it was found that 72% of participants had no computer in their homes, however this lack of access was not impediment to the use, because 87% use the machine in different spaces. However, the school was the least commented and the Orkut one of the most applicant uses. In order to investigate, then, the use of this site, took place semi-structured interviews with a group of 10 teenagers participants of the first stage. The analysis of the interviews allowed to characterize Orkut as a local in which can be pseudo-realized the ideals of a narcissist society. So it is fascinating, capturing the desire of the subject. It is a virtual space where adolescents can \'exit\' momentarily from a state of dissatisfaction, conflict and disruption, to a place where you can be, show yourself. Thus, the idealization build the fascination for the relationship of Orkut provides,linked to the possibilities of socialization. It was found that teenagers try to respond to the calls of hipermodernity , but they still have pleasure in their usual activities in the world. Worship the appearance, the hedonism, glamourization of self-image, social recognition, fame, popularity, friendship, addictions , are topics discussed in this paper and in the Orkut coexist with the interest of communication, reaffirming that even encouraged the hyper-individualism and creation narcisos of digital era, we are social beings.

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Goldberg, Leonardo Andre Elwing. "Redes sociais "virtuais": o Facebook na Sociedade do espetáculo." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/1906.

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The aim of this dissertation is to link the social networking sites, more specifically the facebook to Society of Spectacle concepto of Guy Debord. In this proposal the homonyms text and movie Society of Spectacle have been revisited by authors like Marx, Vargas Llosa, Khel, Azevedo and Bauman. The Debord marxismo theory influences as well as the different idea os spectacle concept by Vargas Llosa and the Khel studies about TV realities shows, guided by him, were examined. Furthermore, we emphasize Azevedo language issues and their changes as well as Bauman ideas about the surveillance and recognition in networking. This work wants to understand relationships in the website, passing for Hegel, Freud and Lacan experiences in order to achieve a debordian Desire concept. Besides of this, we are attempting to reach better knowledge of current situation of internet and society from the Debord pespective of Spectacle also to re-signify relationships and society from facebook device.
A presente dissertação se propõe articular a ideia de redes sociais e sites de relacionamentos virtuais, mais especificamente o facebook, ao conceito de Sociedade do Espetáculo de Guy Debord. Dentro dessa proposta, o texto e o filme homônimos, Sociedade do Espetáculo , são revisitados e trabalhados junto aos autores como Marx, Vargas Llosa, Khel, Azevedo e Bauman. Examinou-se a influência marxista em Debord, a ideia diferenciada de espetáculo concebida por Vargas Llosa e o estudo de Khel dos realities shows e da televisão norteados por Debord. Além disso, destacamos Azevedo e a questão da linguagem e suas transformações, e Bauman que deflagra a ideia de vigilância e reconhecimento nas redes sociais. O recorte do trabalho visou à compreensão dos relacionamentos pessoais nos sites de relacionamentos virtuais, então se passou por Hegel, Freud e Lacan para pensar a concepção debordiana de Desejo. Ademais, dentro desse panorama, construiu-se uma tessitura para uma melhor compreensão da conjuntura atual da internet e da sociedade sob o prisma do espetáculo para Debord e do site facebook, e finda em uma elaboração sobre a ressignificação dos relacionamentos pessoais e da sociedade a partir do dispositivo facebook. Concluiu-se que os sites de relacionamentos virtuais atendem à demanda, de forma aperfeiçoada, da Sociedade do Espetáculo, transformando os relacionamentos pessoais.

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Pugliese, Renato Marcon. "Consumindo a física na escola básica: a sociedade do espetáculo e as novas propostas curriculares." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/81/81131/tde-31052012-103258/.

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A presente dissertação descreve uma análise do conteúdo didático de física e da implementação de duas propostas pedagógicas sob a ótica do conceito de Sociedade do Espetáculo, de Guy Debord. As propostas estudadas estão presentes na rede estadual de educação básica de São Paulo e são: i. São Paulo Faz Escola - Nova proposta curricular do Governo do Estado de São Paulo e; ii. Plano Nacional do Livro Didático para o Ensino Médio - PNLEM 2007. Ambas as propostas foram implementadas durante o biênio 2008-2009 na unidade escolar investigada, no que diz respeito particularmente à disciplina de física. O conceito de espetáculo foi utilizado para contrapor os modelos de ensino autoritário, liberal ou libertador, visto que se apresenta como uma boa ferramenta para estudo da construção e da implementação dessas propostas curriculares, onde o autoritarismo aparece implícito através da publicidade e da propaganda. A escola, o governo e outras instituições participantes da implementação das novas propostas, como as editoras, apresentam caráter espetacular em diversos processos, atos e discursos que as envolvem, o que permite essa interpretação. Quando é analisado o conteúdo de física destas propostas e suas implementações, entendendo a física como cultura e, portanto, parte integrante da estrutura social atual, encontramos a negação do diálogo - crítico e consciente, como afirma Paulo Freire - e um constante autoritarismo conceitual. No entanto, sua divulgação oficial e veiculação midiática é repleta de afirmações da presença do diálogo e de ações colaborativas, o que demonstra a presença do espetáculo. São processos que se auto afirmam dialógicos, mas que cotidianamente se mostram autoritários. É a lógica da Sociedade do Espetáculo, que parece ter uma possível saída políticopedagógica a partir da valorização do diálogo consciente entre homem-mundo, homemhomem e homem-mundo-homem, o qual possui especial dedicação pelo trabalho do educador Paulo Freire.
This thesis describes an analysis of the educational content of physics and the implementation of two educational proposals from the perspective of the concept of Society of the Spectacle by Guy Debord. The proposals being studied are present in public high schools of basic education from São Paulo state, and are: i. São Paulo Faz Escola - New curriculum of the state government of Sao Paulo and; ii. National Textbook for Secondary Education - PNLEM 2007. Both proposals were implemented during the 2008-2009 biennium at schools investigated, particularly with regard to the discipline of physics. The concept of spectacle was used to oppose the authoritarian, liberal or liberating models of teaching, since it presents as a good tool to study the construction and implementation of the proposed curriculum, where authoritarianism is implicit through advertising and propaganda. The school, government and other institutions participating in the implementation of the new proposals, such as publishers, have spectacular character in several processes, actions and discourses that surround them, which allows this interpretation. When analyzing the physical content of these proposals and their implementation, understanding the physics as culture and therefore part of the current social structure, we find the denial of dialogue - critical and consciously, like Paulo Freire says - and a constant conceptual authoritarianism. However, their official release and broadcast media is filled with claims from the presence of dialogue and collaborative actions, which demonstrates the presence of the spectacle. Processes that are self affirm dialogical, but who daily prove authoritarian. It is the logic of the Society of the Spectacle, which seems to have a possible solution from the political and pedagogical enhancement of conscious dialogue between man-world, man-man and man-world-man, who has special dedication for the work of educator Paulo Freire.

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Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.

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Jotham, Justine. "Le spectacle et le spectaculaire chez les frères Goncourt : représentation de la société et création de soi." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100161/document.

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Paris, sous le Second Empire, est capitale du spectacle. Cette vision est à la fois un mythe et l’image d’un lieu réel de relations sociales travaillées par des codes relevant du théâtral. C’est dans ce contexte qu’Edmond et Jules de Goncourt évoluent. Le spectacle et le spectaculaire, qui les fascinent sous toutes leurs formes, sont deux notions qui permettent de rendre compte de leur œuvre et de leur statut d’hommes de lettres. Ces termes témoignent de leurs sources d’inspiration et de leur style, imprégnés du drame et de la peinture, mais aussi de leur posture d’artistes, parmi les écrivains, les artistes, la bohème, le milieu de la presse de leur époque. Dans leurs œuvres, les deux frères s’adonnent à une représentation de leur temps, qui dévoile un jeu du paraître. Leur quête stylistique, qualifiée d’écriture artiste, dans son affranchissement des codes et sa volonté de transgresser les frontières des genres, affirme leur posture d’élection, révélatrice de leurs velléités aristocratiques et de leurs goûts artistiques. Leur position est celle de deux modernes poursuivant la réflexion engagée par Balzac et Baudelaire, mais deux modernes contrariés. Leur œil-artiste, enrichi par les peintres et dramaturges avec qui ils entrent en discussion ou qui leur servent de modèles, opère avec sagacité. Ils offrent une création spectaculaire et spéculaire. Ce miroir tendu à la société, inspiré par les techniques picturales, les genres et registres comme la pantomime, la parodie, la comédie et la satire, renvoie en des vues diffractées l’image de leurs contemporains et celle de leur existence exemplaire, qu’ils mettent en scène artistiquement
Paris, under the Second Empire, was the world capital of spectacle. This image, as much as it is a myth, also depicts the reality of social relationships that were akin to the rules of drama.This is the milieu Edmond & Jules de Goncourt live in. The spectacle and spectacular of all kinds fascinate them and account for their work, and also their place as writers in society. These two words tell us about their inspiration and style, which are infused by drama and painting, as well as their artistic position among literary sociability, artists, bohemians, and the press of the middle of the nineteenth Century. In their books, the Goncourt brothers give a representation of this time by revealing the codes of make-believe. Their stylistic aspiration, deemed “écriture artiste”, which goes across the rules and borders of literary genres, claims their position of superiority to show their aristocratic aspirations and their artistic tastes. Their position is that of modern men, thinking about modernity as Balzac and Baudelaire did earlier, but in some ways, their position also seems to be an anti-modern one. Their artistic observation, or oeil-artiste, enriched by painters and playwrights, who they converse with or whom they emulate, is shrewd. Their production is both spectacular and specular. This mirror, which they are presenting society with, is inspired by painting techniques, literary genres and tones, like dramatic pantomime, parody, comedy and satire. It shows kaleodoscopic views of their contemporaries and of their own life, scripted and staged like a work of art

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Ferraz, Aline de Oliveira. "A formação de atores em escolas profissionalizantes: um estudo sobre o ver e o ser visto." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-01032013-151848/.

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São visíveis as necessidades de ocupação dos espaços de visibilidade na instância pública dentro da sociedade espetacularizada. A partir dessa premissa, a presente pesquisa, realizada na Oficina de Atores Nilton Travesso, busca pensar as possíveis contribuições de uma metodologia baseada nas aprendizagens existentes nas práticas simultâneas de atuação e fruição da cena adotadas na formação profissional dos estudantes. Esses experimentos foram fundamentados nos recentes estudos da recepção teatral, que no atual contexto surgem como possibilidade de equacionar os entraves relativos à experiência dos alunos como espectadores do fenômeno cênico e como autores de suas próprias escolhas.
It is noticeable the need to occupy spaces of visibility in the public spheres in the society of the spectacle. Using the former premise as a starting point and the Oficina de Atores Nilton Travesso as its space of research, this paper aims at thinking about the possible contributions of the methodology based on the present learning of simultaneous practices of acting and enjoyment of the studied scenes in the professional formation of the students. These experiments were based on recent studies of theater reception, which in the current context come up as a possibility to evaluate the difficulties related to the experience of the students as spectators of the scenic phenomenon and as subjects of their own choices.

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Lopes, Ana Carolina Fróes Ribeiro. "A Cidade sob a poética do andar: as deambulações de Hélio Oiticica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-07052014-100822/.

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Esta tese investiga proximidades entre as proposições de Hélio Oiticica e conceitos como \'construção de situação\', \'deriva\' e \'urbanismo unitário\' desenvolvidos pela Internacional Situacionista - IS (1957-1972). Além da literatura da área, foram explorados dois corpus documental, os Boletins da Internacional Situacionista e o Catalogue Raisonné de Hélio Oiticica. A partir dos Boletins foi possível compreender a formulação dos principais conceitos situacionistas, enquanto o Catalogue Raisonné de Hélio Oiticica possibilitou reconstituir suas deambulações urbanas. Suas caminhadas pela cidade refletem sua crítica à cidade e aos modos de vida urbano. Este caráter crítico está presente no desenvolvimento de seu Programa Ambiental, onde suas proposições estéticas buscam reestabelecer, justamente, as relações entre o indivíduo e a cidade. Os arquivos consultados, manuscritos, cartas, entrevistas, e um grande número de documentos inéditos foram fundamentais para a reconstrução de seus \'passos\' e o entendimento, a partir de seu próprio discurso, de suas relações com a crítica social e urbana desenvolvida pelos situacionistas.
This thesis investigates proximities between propositions of Hélio Oiticica and concepts such as \'situation\', \'dérive\' and \'unitary urbanism\' developed by the Situationist International - IS (1957-1972). Besides the literature of the field, two documentary corpus were explored, the Bulletins of the Situationist International and Catalogue Raisonné of Hélio Oiticica. From the Bulletins it was possible to understand fundamental Situationist concepts, while the Catalogue Raisonné of Hélio Oiticica allowed to reconstitute its urban wanderings. His strolls reflect his criticism to the city and urban lifestyles. This criticality is present in the developing of his Environmental Program, where his aesthetic propositions seek to reestablish precisely the relationship between the individual and the city. The archives consulted, manuscripts, letters, interviews, and a large number of unpublished documents were key elements to rebuilding his \'steps\' and the understanding, based on his own speech, of the relationship between Oiticica and social and urban critics developed by the Situationists.

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Silva, Juliana Cristina da. "A gente se vê por aqui: sobre a televisão brasileira, a Rede Globo e a interpelação ideológica na sociedade do espetáculo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-24092015-155807/.

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O presente trabalho tem como objetivo, a partir do referencial teórico e metodológico da Análise do discurso e da Psicanálise, correlacionar o papel social da televisão ao funcionamento subjetivo. Para isso enfoca um dos discursos que é mais predominante na televisão: a publicidade de autopromoção. Quando a televisão brasileira surgiu ela promovia um imaginário nacional/nacionalista, evidenciado no presente texto através da análise discursiva do Hino da Televisão, executado na inauguração da TV Tupi em 1950. Análise que partiu de um paralelo entre a função ideológica do nacionalismo e a função do estádio do espelho e, consequentemente da dimensão imaginária do Eu para a constituição dos sujeitos. Atualmente, o imaginário globalizado/globalizante promovido pela televisão nacional está marcado pela trajetória do poder hegemônico da emissora que é a metáfora desse ideário: a Rede Globo. A partir de uma revisão bibliográfica fez-se o histórico do percurso que levou a Rede Globo a ser uma das principais beneficiárias do projeto de integração nacional promovido pela Ditadura Militar; bem como o desenvolvimento das pesquisas de opinião/audiência pela emissora, que impulsionaram a pesquisa de mercado e a publicidade nacionais. O trabalho propõe uma análise discursiva da publicidade de autopromoção da Rede Globo a partir dos seguintes slogans institucionais da emissora: Globo e você, tudo a ver (1991-1997), Um caso de amor com o Brasil (1998), Um caso de amor com você (1998), A gente se vê por aqui (2001-2011) e A gente se liga em você (2011-atual). Desde o início, e nos mais diferentes momentos históricos, a propaganda de autopromoção buscou propagandear as emissoras (e, por consequência, a própria televisão) como representantes do Brasil, como espelho no qual o Brasil pode (ou deveria) se reconhecer. No caso dos dois slogans utilizados durante o ano de 1998 pela Rede Globo, busca-se estabelecer uma relação tanto metafórica, quanto metonímica, entre você (telespectador) e Brasil. A análise proposta busca evidenciar o que isso pode significar para a economia psíquica do sujeito, uma vez que a metáfora e a metonímia, tal como as entende a psicanálise lacaniana, são os mecanismos pelos quais o desejo inconsciente funciona. Por fim, aprofunda-se a análise do slogan Globo, A gente se vê por aqui, propondo que esse slogan foi usado ao longo de uma década inteira porque conseguiu condensar no mesmo enunciado, por um lado, a forma como se dá a interpelação ideológica no âmbito específico de espetáculo; e por outro, a fantasia na qual os sujeitos colocam a si mesmo em sua própria transparência, vendo-se e mostrando-se uns aos outros através do espelho do espetáculo, e que fundamenta a ligação libidinal dos sujeitos nessas sociedades. O aqui, de A gente se vê por aqui visa apagar a diferença entre estar aqui e aí, como se Globo e você pudessem estar no mesmo plano. Tornando-se o semblante que ocupa o lugar do Outro nas sociedades do espetáculo, a televisão busca estratégias que (imaginariamente) eliminem a distância do sujeito em relação ao Outro, reforçando a ilusão de autonomia dos sujeitos.
The present study aims to correlate the social role of television with the subjective functioning, based on theoretical and methodological background of Discourses Analysis and Psychoanalysis. For this purpose, this work focuses on one of the most prevailing discourses in television: self-promotion advertising. When Brazilian television arrived, it used to promote a nationalist imaginary. This is highlighted in this text through discourse analysis of Hino da Televisão, performed on the inauguration of TV Tupi in 1950. Analysis are based on a parallel between nationalism and the mirror stage function and, consequently, the imaginary dimension of the Self on subject constitution. Currently, the globalized/globalizer imaginary promoted by national television is marked by the trajectory of hegemonic power of the station which is a metaphor for this ideology: Rede Globo. A historical path was traced from a review of literature, showing how Rede Globo became one of the main beneficiaries of the national integration project promoted by the military dictatorship and how the stations audience and opinion polls propelled market research and national advertising. This study proposes a discursive analysis of self-promotion advertising of Rede Globo, based on the stations institutional slogans: Globo e você, tudo a ver (Globo and you, everything in common; 1991-1997), Um caso de amor com o Brasil (A love affair with Brazil; 1998), Um caso de amor com você (A love affair with you; 1998), A gente se vê por aqui (We meet up here; 2001-2011), A gente se liga em você (We are linked to you; 2011-present). Since its beginning and in different moments in history, self-promotion advertising and, consequently, television itself intended to show the stations as Brazils representatives, as a mirror in which Brazil could (or should) recognize itself. In both slogans Rede Globo used in 1998, they intend to establish a metaphorical and metonymical relationship between you (viewer) and Brazil. The proposed analysis aims to evince what it may imply to psychical economy of the subject, once metaphor and metonymy (as lacanian psychoanalysis understands them) are the mechanisms through which the unconscious desire works. Lastly, going further on the analysis of the slogan A gente se vê por aqui (We meet up here), the study suggests it was used for a whole decade because it could condense two aspects in the same wording. On the one hand, the way ideological interpellation comes about in the specific scope of spectacle. On the other hand, the fantasy in which subjects put themselves in their own transparency (seeing and showing themselves to each other through the spectacle mirror) and that underlies libidinal bounding of subjects in these societies. The here in We see each other here intends to erase the difference of being here and there, as if Globo and you could be in the same plan. Television seeks strategies to (imaginarily) eliminate the distance of the subject in relation to the Other, becoming the face that fills the place of the Other in societies of the spectacle, thus reinforcing the illusion of subjects autonomy.

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Boutonnet, Thomas. "VERS UNE « SOCIÉTÉ HARMONIEUSE » DE CONSOMMATION ? Discours et spectacle de l'harmonie sociale dans la construction d'une Chine “civilisée” (1978-2008)." Phd thesis, Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/out/theses/2009_out_boutonnet_t.pdf.

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Bouleversée par plus de vingt années de réformes initiées par Deng Xiaoping en 1978, par le basculement d'une économie planifiée vers une économie de marché et le développement d'une société de consommation de masse, la société chinoise du début des années 2000 est minée par des disparités socio-économiques et territoriales grandissantes. C'est dans un tel contexte que se constitue le discours de la " société harmonieuse " (hexie shehui), un programme officiel présenté par le président Hu Jintao dans l'intention de pacifier les tensions sociales. Notre travail sera de démonter les stratégies discursives mises en place par la " société harmonieuse " par une analyse de ses énoncés, pour démontrer que ce discours prône la construction de l'harmonie sociale par l'acceptation des inégalités et des injustices sociales, et qu'il s'inscrit dans un processus, global et plus ancien, de civilisation de la population chinoise défavorisée. La hexie shehui s'affirme comme un instrument de contrôle et de discipline des populations pauvres, et propose un traitement moral de la question sociale. Nous verrons enfin que la " société harmonieuse " met également en scène une Chine “civilisée” et que ce spectacle est au cœur de son programme
Chinese society in the beginning of this twenty-first century is undermined by growing socioeconomic and regional inequalities, as China has been disrupted by the reforms launched by Deng Xiaoping since 1978, by the transition from a planned economy to a market economy and by the expansion of a mass consumer society. The discourse of " harmonious society " (hexie shehui), an official program introduced by President Hu Jintao in 2005, took place in this particular context to pacify social unrests. This dissertation aims to dismantle the strategies used by the " harmonious society " and to reveal that this discourse advocates social harmony not by resolving social inequities but by accepting them. Hexie shehui is part of a larger and earlier civilizing process of Chinese underprivileged population, since it appears to be a tool to control and discipline the poor and offers ethics response to social issues. We will see, finally, how this " harmonious society " also targets to design a spectacular “civilised” China and the way this spectacle is the core of this program

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Ferreira, Diego Lima. "“Que obra fez Deus!”: o lifecasting entre a vigilância e o espetáculo na sociedade conectada 24/7." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/4012.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research aims to study the lifecasting, especially one in which the lifecaster transmits your life uninterrupted, as an phenomenon of 24/7 conected society, such as Jonathan Crary (2014) understands and as technical mediation, intensified by the expansion of internet access, by increasing the connection speed, the cheapening of the cost of equipment, the use of mobile devices and a lot of surveillance practices that has been developing, particularly from the early 1980s. Undertaken a literature review, a web archival research (survey videos, testimonials and stories published about the pioneers in 24/7 lifecasting and his followers and the organization of a personal archive made up of recordings of broadcasts and prints chats) and questionnaires application to lifecasters and lifeviewers, we tried to draw a historical route and to identify the motivations that led them to this practice. The case study systematically accompanied the transmission of the three most important lifecasters of today (among those using the Portuguese, English and Spanish): the American Frank Taylor, the Danish Jan Billy and the Finn Ari Aarne Antero Kivikangas (Cyberman). The lifecasting was analyzed on the basis of four main axes: as a member of the 24/7 society, as a form of surveillance, spectacle of self and resistance. The reasons presented by lifecasters and lifeviewers are in line with current practices in the 24/7 connected society in which surveillance systems, exposure of personal life and the consumption habits have in lifecasting an extreme exemple.
A presente dissertação pretende estudar o lifecasting, transmissão contínua por vídeo através da internet, em especial aquele em que o lifecaster transmite a sua vida ininterruptamente, como fenômeno integrante da sociedade conectada 24/7, como a entende Jonathan Crary (2014), e como mediação sócio técnica, intensificada pela ampliação do acesso à internet, pelo aumento da velocidade de conexão, o barateamento do custo dos equipamentos, a utilização de dispositivos móveis e de uma série de práticas de vigilância que vem se desenvolvendo, particularmente, a partir da década de 1980. Através da pesquisa bibliográfica, da web archival research (com o levantamento de vídeos, depoimentos e matérias publicadas acerca dos pioneiros no lifecasting 24/7 e de seus seguidores e a organização de um arquivo pessoal composto por gravações de vídeos das transmissões e por prints de chats) e da aplicação de questionários a lifecasters e lifeviewers, procurou-se traçar um percurso histórico para identificar as motivações que os levaram a tal prática. O estudo de caso acompanhou sistematicamente a transmissão dos três mais importantes lifecasters da atualidade (dentre os que utilizam os idiomas português, inglês e espanhol): o americano Frank Taylor, o dinamarquês Jan Billy e o finlandês Ari Aarne Antero Kivikangas (Cyberman). O lifecasting foi analisado tomando como base quatro eixos principais: como prática integrante da sociedade conectada 24/7, como forma de vigilância, de espetacularização do eu e de resistência. As motivações apresentadas por lifecasters e lifeviewers encontram-se em consonância com as práticas correntes na sociedade conectada 24/7, na qual os sistemas de vigilância, a exposição da vida pessoal e os hábitos de consumo encontram no lifecasting um exemplo extremo.

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Aleixo, Antonio Marcos. "Um épico possível: refuncionalizações de técnicas, formas e clichês, em Nashville, de Robert Altman." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-12082013-130516/.

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Lançado em 1975, Nashville é uma das últimas produções de um período da cinematografia norte-americana conhecido como Nova Hollywood ou Renascença Hollywoodiana. Tomando a capital da música country nos EUA como objeto de crítica e pano de fundo espacial da narrativa, o filme reflete sobre problemas políticos e sociais de seu tempo. A tese que orienta o presente trabalho é a de que a imagem da História evocada em sua narração só foi possível porque o diretor e seus colaboradores fizeram um esforço consciente para apropriar-se do repertório fílmico industrial de técnicas, formas e até mesmo clichês, refuncionalizando-o de modo a torná-lo adequado à expressão de sua visão crítica. O resultado é, ao mesmo tempo, um retrato dialético dos EUA no início dos anos 1970, uma prova da possibilidade da encenação épica no contexto industrial e um exemplo de resistência cultural a partir da organização produtiva dos trabalhadores do cinema.
Launched in 1975, Nashville is one of the last productions of a period in American cinema known as the New Hollywood or Hollywood Renaissance. Taking the capital of country music in the USA as the object of criticism and spatial backdrop of its narrative, the film reflects upon social and political problems of its time. The thesis that guides the present study is that the image of history evoked by its narration was possible only because the director and his collaborators made a conscious effort to apropriate the repertoire of industrial filmic techniques, forms and even clichés, refunctioning it to make it suitable to the expression of their critical point of view. The result is, all at the same time, a dialectical picture of the USA at the beginning of the 1970s, concrete evidence of the possibility of epic mise-en-scène in the industrial context and an example of cultural resistance built upon the productive organization of cinema workers.

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Branco, Neyde Figueira. "Representações da arte e do trabalho em Verdades e Mentiras de Orson Welles." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-22102018-131417/.

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Verdades e mentiras (Verités et mensonges / F for fake, 1973), de Orson Welles, parte da história de Elmyr de Hory, um grande falsificador de obras de arte, para propor uma reflexão sobre o mercado de arte e sobre o trabalho do artista no contexto da Indústria Cultural. O filme organiza-se como uma argumentação, que disserta sobre seu contexto sócio-histórico e capta a estrutura de sentimento do período em que é produzido, podendo ser considerado um precursor do filme ensaio. Entretanto, os argumentos nem sempre confirmam as teses propostas inicialmente. Há constantes contradições entre os diferentes elementos que compõem uma mesma cena, ou entre diferentes cenas e sequências do filme, tornando necessário ao espectador realizar uma leitura a contrapelo da obra. Orson Welles incorpora aspectos da tradição cinematográfica e de sua obra e combina-os com a experimentação, que é característica de seu trabalho artístico, para investigar as relações de produção no contexto da indústria cultural e de que forma o trabalho se constitui enquanto horizonte para superação das determinantes históricas da sociedade. Ao mesmo tempo em que faz isso, o filme evidencia a si mesmo como representação, constituída a partir de um ponto de vista determinado, e assim permite que analisemos e interpretemos a verdade desse trabalho artístico, para a compreensão dos temas e aspectos da realidade que ele configura.
F for fake (Verités et mensonges, 1973), by Orson Welles, introduces the story of Elmyr de Hory, a great Art forger, in order to discuss the determinations associated to the Art Market and the work of the artist submitted to the Cultural Industry. The movie is structured as an argumentative essay, which discusses its background and captures the structure of feeling of the period. Because of the way it is organized, F for fake is sometimes referred as a predecessor of what is called nowadays essay film. However, the arguments included do not necessarily confirm the initial thesis of the film. There are numerous contradictions between different elements of a scene, and also between different scenes and sequences. It keeps the audience alert and suggests the need to interpret the story against the grain, as Walter Benjamin advocates. Orson Welles incorporates some aspects of film tradition and of his oeuvre, and associates them with the experimentation of new aesthetics, as it is characteristic of his artistic work, in order to examine the relations of production in the context of the Cultural Industry. He also analyses how labor can represent some perspective of overcoming the social and historical determinations of the society. Whilst structuring these debates, the film exposes itself as a representation of a certain point of view, and allows the audience to analyse and interpret the truth of this work of art, as well as to try to understand the association of themes and aspects of reality that it constitutes.

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Weaver, Kimberly. "International Society Cosmopolitan Politics and World Society." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3701.

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How does the international system move from an anarchic system driven by power to a global community driven by the needs/wants of the community at large? Jürgen Habermas utilizes the tenets of his Communicative Action Theory to underline the importance of communicatively based repertoire in the international system between and among states and non-state actors and the citizens themselves. How does arguing and reasoning among states and international institutions bring together legitimization and order? My research aims to analyze the movement of the international system from anarchy towards a global civil society. In doing so, I will examine Communicative Action Theory in International Relations, in particular the development of legitimization processes in international politics, the role of state sovereignty and its effect on the legitimization process of non-state actors. I argue that underdeveloped legitimization processes at the international level consist of fragile consensus building mechanisms that explain why disagreement can and often does lead to violence. However, I also contend that the international system is moving toward a more developed global civil society.

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Tremblay, Alexandra. "Nous irons mourir par un soir de spectacle ; : suivi de Étude de la personnalité anomique." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23926/23926.pdf.

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Grönskog, Johan. "Nonvisual Society." Thesis, Umeå universitet, Institutionen Designhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-59282.

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The exclusion of visually impaired from the information flow presented to us through signs was what led me into this project. With a growing amount of information being presented to us on signs and digital information surface the need of communicating this information in a way that could be read by visually impaired is evident. Looking into different ways of communication, my goal was to create something that filled the need of the visually impaired without branding them as disabled. Having a close relative with bad eyesight is became evident on how much it limited her in her everyday life, not being able to navigate herself without the support of her husband. Through interviews with her and others with varying diagnoses I reached an insight in their situation. To my surprise they still favored a visual form of communication before an auditory or tactile form, because it’s easy to survey and quick to interpret. Through an iterative process of prototyping and close discussions with the users I reached the conclusion that a head-mounted device would simplify the usage and, with the latest developments in component size, also manifest into something that didn´t run the risk of discriminating the users. This resulted in a pair of glasses with in-built electronics and displays. Through cameras mounted on the frames, the visual information is transferred to a CPU in the left temple arm that analyses and enhances the image with software designed for your specific diagnosis. When you feel the need to enhance your vision, you use the controls on top of the temple arms to control the software´s output which is displayed in transparent OLED-displays glued on to the lenses. If the enhanced image isn´t enough, you also have the possibility to let the software use text-to-speech and read the information through built in speakers directed towards the ears. The glasses could easily be dismounted with USB-connectors at the joints which aids the installment of the software, service and customization of the device and in particular the charging of the battery, which is located in the right temple arm. The battery is then charged in a designated compartment of the spectacle box.

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Lorca, Jose Henrique Ferreira Lorca. "Society bits /." Online version of thesis, 1987. http://hdl.handle.net/1850/8852.

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Tingvall, Josefin. "Soft Society." Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5853.

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Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.
Soft society

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Jargalsaikhan, Mendee. "Civil society in a non-Western setting : Mongolian civil society." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42779.

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Civil society development is one of the measures of the democratization process. Yet the examination of civil society is complicated due to varying understandings and approaches. This thesis suggests an analytical framework that enables us to investigate the existence of civil society space, its institutionalization, its actors, and the internalization of democratic values and norms. Using the framework advanced here, it examines Mongolian civil society, which is often described by scholars, politicians, and civil society practitioners as ‘vibrant’ and ‘strong’. The thesis concludes that while civil society space does exist in Mongolia, it is neither fully institutionalized nor respected by the state, by politicians, by business or by other actors. Moreover, democratic values and norms are not internalized because internalization is something that takes several generations to accomplish. The widespread reliance on informal networks undermines efforts to promote democratic values and norms as well as trust in democratic institutions. Mongolian civil society is therefore vulnerable.

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Clark, Mark William. "A society transformed : a political analysis of rural Malay society." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28165.

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This thesis presents a political analysis of rural Malay society in Peninsular Malaysia. Like other traditional societies in Southeast Asia, Peninsular Malaysia has had to contend with the intrusion of economic modernization and the adoption of western democratic institutions and processes. These influences have had a profound affect on how politics is conducted in these states. Since governments must now acquire and maintain the support of a largely rural based population through the electoral principle, these governments must link their bureaucracies and political structures with the peasant in order to maintain stability for their governing bodies. One important way of achieving this goal is to coopt into the institutions of state, those persons viewed by the villager as leaders of their community. What, then, becomes the glue which bonds the villager to state institutions? That glue is the patron-client relationship. The coopting of a patron produces the necessary linkage between state institutions and the villager. But in order for this connection process to be completed, these leaders must in turn connect with higher level leaders (patrons) who operate within pyramidal structures of patron-client relationships throughout the various levels of the bureaucracy and political structures. I refer to these linkage connections as "linchpins". By examining a number of village case studies in Peninsular Malaysia, I provide evidence that the nature of the patron-client relationship has been transformed by the modern state influences. The political dominance of the government has created patron-client structures influenced by the political institutions (e.g., political parties). This political influence has weakened the ability of the bureaucracy to function with any effective linchpins between it and the villager. On the other hand, the political influence has strengthened the linchpin connections between the villager and the politicians. The effects of this dominance has not only shifted patron-client relationships but also has created the environment for either alliance formation, through the existing power structure as factions (within a political party, for example), or has created the potential for peasant group action which could be manifested in protest movements generated outside the patron-client structure. The result could be a weakening or dissolution of patron-client structures. Combine these possibilities and the result will be inimical to state stability.
Arts, Faculty of
Political Science, Department of
Graduate

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Alvarez, De Los Santos Mirella Alexandra, Navarro Nilson Aldinho Arispe, Bastidas Derlys Gustavo Palacios, Bernal Jonathan Torres, and Rengifo Pamela Andrea Zelada. "Pet Society App." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657392.

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En este presente trabajo, los integrantes de este nuevo proyecto y también estudiantes de diferentes carreras en la Universidad Peruana de Ciencias Aplicadas, brindaremos una aplicación llamada Pet Society que queremos brindarle a cada persona en Lima la oportunidad de acceder a una plataforma única, sencilla y eficaz para que puedan obtener el mejor servicio asociado a los engreídos de la casa (sus perritos) en los mejores locales veterinarios en todo Lima Metropolitana, con el fin de hacer esta búsqueda más sencilla, veloz y personalizada con los mejores precios del sector y con el mejor servicio y atención garantizada. Asimismo estaremos en constantes innovaciones para mejorar la plataforma, los servicios y realzar los precios accesibles para el mercado veterinario. Cabe recalcar que hemos realizado una profunda investigación, con el fin de recabar información valiosa, y de esta manera lograremos tener una eficiente y eficaz atención hacia los clientes de nuestro segmento asignado, y que con el tiempo lograremos extender. Además, se busca satisfacer las necesidades básicas de los dueños con respecto a sus mascotas, brindando un servicio diferenciado de alta calidad y fácil acceso. Nuestra plataforma tiene como objetivo conectar a las veterinarias con clientes potenciales que busquen satisfacer las necesidades de sus mascotas, generando un incremento de ventas a las empresas veterinarias y una cartera de opciones a los clientes para que puedan escoger el mejor servicio que estos consideren según sus necesidades. Por esta razón, en el proceso de investigación se tomarán en cuenta las entrevistas y métricas para obtener una retroalimentación acertada para el proyecto.
In this present work, the members of this new project and also students of different careers at the Peruvian University of Applied Sciences, we will provide an application called Pet Society that we want to give each person in Lima the opportunity to access a unique, simple and effective so that they can obtain the best service associated with the cocky of the house (their dogs) in the best veterinary premises throughout Metropolitan Lima, in order to make this search easier, faster and more personalized with the best prices in the sector and with the best service and attention guaranteed. Likewise, we will be constantly innovating to improve the platform, services and enhance accessible prices for the veterinary market. It should be noted that we have carried out a thorough investigation, in order to gather valuable information, and in this way, we will achieve efficient and effective service to customers in our assigned segment, and that over time we will be able to extend. In addition, it seeks to satisfy the basic needs of the owners with respect to their pets, providing a differentiated service of high quality and easy access. Our platform aims to connect veterinarians with potential clients who seek to satisfy the needs of their pets, generating an increase in sales to veterinary companies and a portfolio of options for clients so that they can choose the best service that they consider according to their needs. For this reason, the research process will take into account the interviews and metrics to obtain accurate feedback for the project.
Trabajo de investigación

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Hodgson, Lesley C. "Experiencing civil society : the reality of civil society in post-devolution Wales." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/experiencing-civil-society(5bee131e-c513-47ed-a9ad-d4c172fd074e).html.

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Discussions about civil society have traditionally been concerned with its relationship to the state and the market. The last decade, however, has seen the concept being increasingly used by those involved in public policy formation, both on the right and left of the political spectrum. Linked to ideas concerning social capital', 'trust' and 'partnership' civil society has moved to centre stage in both academic and political debate. Despite a considerable body of social science literature about Wales, especially with regard to economic aspects and the political culture leading up to devolution, there are gaps in our knowledge regarding the organisation of 'social' Wales; the institutions, networks and relationships that comprise civil society. There is little published data on the form and impact o f civil society in Wales and yet assumptions about the nature, size and type of civil society abound. Essentially, this thesis provides a critical analysis o f some o f the main ideas and clichéd views that have come to be associated with civil society. The work provides a unique insight into how and why people form civil associations and traces the impact of these organisations on the local community. Additionally it investigates the impact of devolution and the involvement of civil society with the policy-making machinery of state. In this way, the study fills some of the gaps in our knowledge about civil society in Wales.

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Ozdemir, Samur Zelal. "Civil Society In Iran." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609610/index.pdf.

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This thesis aims to understand how civil society developed and evolved in the modern history of Iran and how it operates in the current day through the eyes of the actors of this realm. The fieldwork of the study was conducted in Tehran in 2006. This study, while questioning the liberal understanding of civil society, endeavours to contemplate a consistent framework in which the Iranian civil society activities could be located. The Iranian case proved the existence of a vivid civil society despite a repressive political climate. However, instead of comprehending the Iranian civil society as constant or developing, this thesis showed that civil society is in fact evolving according to the power relations between the state and civil society. In this sense, Iranian civil society is neither weak or nor strong but rather its strength is changing vis-à
-vis the relations with the Iranian state.

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Schadl, Ilona. "The exclusion of society." Diss., lmu, 2011. http://nbn-resolving.de/urn:nbn:de:bvb:19-149606.

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47

Roy, Remi. "Anarchism and civil society." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39212.

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Abstract:

This thesis endeavors to render anarchist thought more appropriate to contemporary political life. It attempts to show that what is needed is not an overarching theoretical system, but rather explorations of new organisational forms. I will try to demonstrate that supported by anarchistic trends in social theory, anarchical organisational forms are taking place to some extent in practice. These transformations, it is maintained, are a desirable political response to contemporary technological change.

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48

Morgan, Nicholas Travers. "The National Gramophonic Society." Thesis, University of Sheffield, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632809.

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Etnyre, Robb P. "Naval leadership and society." Monterey, California. Naval Postgraduate School, 1997. http://hdl.handle.net/10945/8716.

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Approved for public release; distribution is unlimited
Tensions between society and the uniformed leaders of the military have produced disastrous results for some democracies. If the peaceful nature of American civil-military relations is to continue through the twenty-first century, a certain level of understanding and shared views need to exist between the military's senior leaders and society. This thesis explores whether senior leaders of the naval service are becoming isolated from society; and, if so, the implications this divide may have on civil-military relations. Three measures of civil- military interaction--racial/ethnic representation, military experience, and shared values--are used to assess the extent of isolation between the nation's naval leaders and society. These measures of interaction are examined with historical and projected statistics on racial/ethnic representation among naval officers, Congressional voting records on defense-related legislation, and interviews with a sample of retired flag and general officers. The results suggest growing isolation and tension between naval leaders and society

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50

Wong, Cheung-wai, and 王章偉. "Between state and society." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31246084.

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Dissertations / Theses on the topic 'The society of the spectace'

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