Doutorado em Comunicação (FIC)
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Navegando Doutorado em Comunicação (FIC) por Por Orientador "Dias, Luciene de Oliveira"
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Item “Não dá pra fugir dessa coisa de pele”: imagens e afetos de mulheres negras em telenovelas brasileiras(Universidade Federal de Goiás, 2023-04-14) Conceição, Juara Castro da; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Satler, Lara Lima; Rezende, Tânia Ferreira; Martins, Alice de Fátima; Valério, Erinaldo DiasThis thesis proposes to investigate the affections of black women in images produced in Brazilian soap operas on TV Globo. The analyzes are based on the characters played by actress Taís Araújo between the years 1997 and 2022. They are: Vivian from “Anjo Mau” (1997), Edivânia from “Meu Bem Quer” (1998), Selminha Aluada from “Porto dos Milagres” (2001), Preta from “Da Cor do Pecado” (2004), Ellen from “Cobras e Lagartos” (2006), Alicia from “A Favorita” (2008), Helena from “Viver a Vida” (2009), Maria da Penha from “Cheias de Charme” (2012), Verônica from “Geração Brasil” (2014), Michele from “Mister Brau” (2015), Vitória from “Amor de Mãe” (2019) and Clarice from “Cara e Coragem” (2022). A study is carried out based on the cultural analysis of the images, taking into account their aesthetic elements and their intersections, considering the production of the meaning of affection. Recognizing the soap opera narrative, there are also discussions about fictional series and television narratives. In addition to Latin American Cultural Studies as a theoretical-methodological contribution and analysis spatiality. The images used in this work are electronic, the result of an imagery field driven by the presence of digital technologies. The search for images was intermediated by Google, which in addition of being a search device is also software and a multinational advertising company. In view of this, the virtualization of the memory of these fictional narratives based on their images is also discussed. Affectivity comes as an object of analysis from the thematic axes of: motherhood, affective-sexual relationships and friendship. When talking about the affectivity of black women, from television characters elements such as race, gender and class are touched. In addition to the generational and also aesthetic discussions of the characters presented. Based on a cultural analysis of the images, this research presents a possibility of understanding soap operas and their characters, through the imagery field that makes up their memory. We are talking about images beyond a technological line, guided by racialized affection as a possibility of understanding communication from the bond.Item Corpografias: comunicação dialógica entre corpos cuir e memória cultural(Universidade Federal de Goiás, 2022-08-15) Cruz, João Lúcio Mariano; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Vidica, Ana Rita; Jesus, Jaqueline Gomes de; Bruno, Fabiana; Martins, Alice FátimaNuestra tesis grafa las huellas de la memoria cultural presentes en fotografías y textos escritos, que actúan como archivo para nosotros, en sus relaciones con las performances artísticas, que escenifican nuestro repertorio de actos encarnados. A través de estas grafías de la memoria - fotos, textos escritos y performances -, navegamos por la información social e histórica que comunicamos en/a través de nuestros cuerpos. Nuestro objetivo fue pensar imágenes textuales e iconográficas sobre las normas de género y sexualidad inscritas en nuestros cuerpos para mapear contra-visualidades. El cuerpo, en el sentido que estamos proponiendo en esta tesis, se sitúa en la médula ósea del campo comunicativo, como célula originaria de todo proceso comunicativo. El cuerpo es tomado aquí como lugar de eventos culturales, como territorio de conocimiento, herramienta y símbolo de comunicación. Es un cuerpo construido sobre el espacio y el tiempo y ocupado por inscripciones. Adoptamos la corpografía como metodología que mapea archivos y repertorios inscritos en el cuerpo. A través de una estrategia de lenguaje polifónico, accedemos a un contenido visual anacrónico para encarnar la memoria cultural. Utilizamos elementos gráficos a lo largo de la tesis para desencadenar grietas y buscar desbordamientos. Como resultado, encontramos marcas de invisibilidad corporal y epistémica cuando hablamos de sujetos cuir. Encontramos que los cuerpos cuir, en su multiplicidad, y otros cuerpos plurales, cuando acceden al derecho a mirar y al derecho a ser visto, actúan como mediadores que tensionan la performance corporal dominante y promueven aperturas.Item Corpos que gingam: comunicação e persistência cultural na capoeira Angola(Universidade Federal de Goiás, 2023-08-23) Gomes, Elisângela; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Borges, Rosane da Silva; Vaz, Gláucia Aparecida; Fernandes, Ana Rita Vidica; Cirqueira, Diogo MarçalCorporeality in the African diaspora establishes new territories, albeit impermanently. It is transformed, but it also modifies the geography of cities by disputing meanings and constructions of identity. The body’s existence is based on a continuous movement to stay alive, so black corporeality can be understood as the driving force behind communication. It affirms itself through its culture, which in turn finds in the body the possibility of remaining. In this way, I seek to understand how communication is established through corporeality and presents African civilizational values in the Black Diaspora. At the beginning of each chapter, a short story presents stories heard and lived that dialog with the understanding of evaristian writing, bringing to this great circle the ginga present between theory and practice. Capoeira Angola, chosen for analysis, manifests itself centrally in the body and its reactions. Therefore, corporeality not only constitutes culture, but is also a fundamental part of its existence. The type of research was participant-based, understanding the importance of theory and practice combined. As data collection instruments, I used a script of semi-structured questions that were applied with Mestre Guaraná, Mestra Ana Maria, Ceiça Ferreira, Andresa Moreno and Juliana Cordeiro; associated with photographic, sound and audiovisual records. The composition of images was contributed by Goiás photographers and capoeiristas Juliana Cordeiro and Andresa Moreno. The search is for the possibility of seeing portraits of Capoeira Angola from Goiás made from an inside look at the experience in a movement to claim the “right to look”. I use the articulation between the body, communication and black identity elaborated by Muniz Sodré (1998; 2017), who, based on the analysis of cultural aspects such as samba and musicality, perceives the body as an affirmation of an African cultural universe. My understanding of communication is based on the contributions of Fabien Eboussi Boulaga (1977), who states that the original communication with the world lies in the act of feeling; and Ciro Marcondes Filho (2007; 2019), who interprets it as a process, an event that can occur between people or between people and objects, but even so, a rare event. The discursive practice that claims the right to look has its own techniques, and has been disseminated as a counter-visuality by Nicholas Mirzoeff (2016), a visual culture theorist. The data resulting from the collection stage was analyzed in convergence with the theoretical-methodological framework adopted. In constant dialog with communication, I bring up references based on cultural studies, covering concepts from African philosophy and sociology, black literature and visual culture. To encompass the complexity of the body, I brought in the Yoruba world concept of Cosmosensation (OYĚWÙMÍ, 2021), which understands that, in a sensory and cognitive dimension, we are integrated with nature, with the cosmos. To conceptualize culture, the perspective presented is based on an African cultural unity (DIOP, 2014), supported by the existence of a common trunk founded on African civilizational values that accompanied the African people in the Black Diaspora. I enter cultural studies from the perspective of Stuart Hall (2009), who, when scrutinizing the migration process in the Caribbean, states that there is a reunion with Afro-Caribbean traditions due to the need to make sense of the interpretative matrix and cultural self-images. With this research, it was possible to affirm that black cultural manifestations have the potential to bring together the construction of collectivities, a sense of belonging and the creation of bonds of affection, making it possible to learn and remember teachings that were “forgotten” as a survival strategy in the face of the politics of death. Its foundations present African civilizational values, which in turn are under constant threat considering the presence of structural racism, the lack of institutional recognition of the figure of Mestras and Mestres and acts of cultural appropriation and intolerance. The analysis of the images resulted in the understanding that Capoeira Angola is a space for identity formation and recognition of corporeality and has the potential to transform the gaze of its practitioners, so the images recorded by the photographers reconstitute historical images, generating an imagetic representation based on respect, affection, dignity and protagonism of black people. I conclude that black corporeality is not at the service of visuality, and by proposing other possibilities for recording, they provide an opportunity to create new memories of black corporeality.