Fotografia e marketing: uma análise dos atrativos turísticos da cidade de João Pessoa-PB

Photography is a resourse of the most used and effective marketing, besides being an polysemic art, boundless sense; this allows for different readings. Nevertheless, there are those who, through the control and supervision, try to organize its meaning, such as the marketing companies. Others, such as artists, are the responsibility of the observers to give their work some understanding. Resorting a photographic iconography of the tourist attractions of the city of João Pessoa in Brazil from 2005 to 2010. This survey selected images published in catalogs supported by the Fundo de Incentivo a Cultura (FIC) and the Empresa Paraibana de Turismo (PBTUR). The central idea of this qualitative research is the assumption that, in general, tourists crave, even unconsciously, a reality of a tourist attraction motivated by photographic image conveyed the travel market, meanwhile, emphasizes that the art market, the same attraction is exposed and uncovered. Thus it is argued, by photos, such as environmental and sociocultural characteristics are commodified by these organs that have different purposes is not exclusive, given that the FIC supports art and PBTUR sponsors the tourism. Beyond the iconography used for cataloging and photographic analysis, interviews were conducted by the method of visual narratives in ordes to approximate the data with the view of tourists and photographers. In that resulted in a refletion on the current imagistic process involving the release of the tourist destinations in order to be allowed on a critical reading of photographic production and market resources to marketing and promoting the art of the city. It was observed that both the art and photography marketing acquire different symbolic values with respect to their markets promoted by the catalogs analyzed.

Desindustrialização no Brasil: teorias e evidências para o debate

This study aims to contribute with evidence to reinforce or not the thesis of a possible deindustrialization of the Brazilian economy, with emphasis on period after 1995. The debate began in the late 80s, however, recently the industry deceleration gained strength in discussions academic. Between the main theses in this debate is the new-development that believes in precocious deindustrialization caused primarily by overvaluation exchange rate. However, part of heterodoxy believes the industry downturn is more related to the rate of investment than the exchange rate. Nevertheless, according to the orthodox thesis the loss of competitiveness due to the high cost of production may have caused the de-industrialization in Brazil. On the other hand, part of Orthodoxy does not believe that the country is deindustrializing it, but is occurring convergence of Brazilian industry the world average. Thus, in an attempt to shed light on this debate, this study intends to identify the reasons for the deceleration of the Brazilian industry, emphasizing aspects underexplored in the literature and define whether or not the country suffers a process of deindustrialization. When analyzing various indicators, especially the quantum level we find strong indications that the deceleration of the Brazilian industry can be characterized as a deindustrialization, though still insufficient to qualify as precocious, given the loss of share in physical production in total output and the share of primary goods in the export basket

Matizes de cultura de massa na obra de Caio Fernando Abreu

The Brazilian writer, Caio Fernando Abreu, was strongly influenced by a period of changes in social values and perspectives. When he enters the Brazilian literary scene using a writing style free from form and content, he applies in his works all the affliction of the contemporary values. His work embodies all the spirit of a generation that, despite its anxiety for freedom, was still suffocated by the military dictatorship period. Abreu’s narrative also reveals an author with an extreme ability to shift between the erudite and the popular. In his short stories, he develops a performative language mingled by references that turns his text into a sort of Pop Art iconography. Just like Pop Art paintings, full of Coke images, cigarettes, tooth paste and food cans, Abreu’s literary discourse is painted by many symbolical references to modern consumerism, as well as to movies, music and to pop stars. This trace in the writer’s works exerts a great deal of attractiveness on the contemporary reader. In this work, we attempt to analyze this resource in Abreu’s literature under the concepts of cultural studies; thus, we aim at analyzing the various forms of the mass culture expression inside Abreu’s literature, recognizing his allusions as a stylish resource in his writings and highlighting its relevance in the study of the author work. In order to do so, we are based essentially on the reflections of theoreticians: Lipovetsky (1996) and Adorno (2011) who debate the culture and social formation in contemporaneity.