Consumption and the meaning of life

Through an analysis of data from depth interviews with modern American consumers, we examine whether and how individuals quest for life’s meaning through consumption. Our analysis identifies three worldviews that are differently related to the experience of transcendence through consumption. A rationalist worldview is revealed as being unrelated to such a pursuit. It contrasts two magical worldviews held by most informants in which consumption objects are infused with supernatural and metaphysical beliefs that animate life’s meaning for them. Our discussion highlights how recognition of magical worldviews contributes to consumer theory, methods, and concepts of investigation.

Determining dramatic intensification via flashing lights in movies

Movie directors and producers worldwide, in their quest to narrate a good story that warrants repeated audience viewing, use many cinematic elements to intensify and clarify the viewing experience. One such element that directors manipulate is lighting. In this paper we examine one aspect of lighting, namely flashing lights, and its role as an intensifier of dramatic effects in film. We present an algorithm for robust extraction of flashing lights and a simple mechanism to group detected flashing lights into flashing light scenes and analyze the role of these segments in story narration. In addition, we demonstrate how flashing lights detection can improve the performance of shot-based video segmentation. Experiments on a number of video sequences extracted from real movies yields good results. Our technique detects 90.4% of flashing lights. The detected flashing lights correctly eliminates 92.7% of false cuts in these sequences. In addition, data support is compiled to demonstrate the association between flashing light scenes and certain dramatic intensification events such as supernatural power, crisis or excitement.

Animating child activism: Environmentalism and class politics in Ghibli’s Princess Mononoke (1997) and Fox’s Fern Gully (1992)

 Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children’s films, Princess Mononoke (1997) and Fern Gully (1992). While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Both films reject the principles of deep ecology in displacing responsibility for environmental destruction on to ‘supernatural’ forces and exhibit anthropocentric concern for the survival of humans. We argue that these films constitute divergent methodological approaches for environmental consciousness-raising in children’s entertainment. The western world production demonstrates marked conservatism in its depiction of identity politics and ‘cute’ feminization of nature, while Hayao Miyazaki’s film renders nature sublime and invokes complex socio-cultural differences. Against FernGully’s ‘othering’ of working-class and queer characters, we posit that Princess Mononoke is decidedly queer, anti-binary and ideologically bi-partisan and, in accord with the underlying principle of environmental justice, asks child audiences to consider compassion for the poor in association with care for nature.

Introduction: secularization and its discontents

Sigmund Freud’s 1927 work The Future of Illusion expresses the great psychoanalyst’s most whiggish assessment of the situation of Western, post-enlightenment societies. In it, Freud reanimates the ancient tradition of the materialist-Epicurean criticism of religion, with its skepticism concerning all invisible powers. For Freud, famously, the religious belief in higher, supernatural deities—particularly, the monotheistic God—represents a wish-fulfillment and illusion (Freud 1927: 30, 43). This illusion takes its particular shapes from our earliest childhood experiences of helplessness, and the longing for an all-protecting, omnibenevolent father. With the progress of science, and its benefits in technology, Freud opined that the period of the cultural pre-eminence of religion in the West was over. Civilization and its Discontents, written 3 years later, expresses a similarly sceptical assessment of religion. Whether founded in an oceanic, mystical sentiment of oneness, or the refined language of the theologians, religion remains for Freud ‘patently infantile’ (Freud 1930: 86). Between 1927 and 1930, however, Freud’s assessment of the wider prospects of modern Kultur shifted, if it did not entirely reverse. With the fortunes of fascism rising, and the first clouds of renewed European war forming on the horizon, Freud now argues that the psychological price demanded by the modern world’s manifold civilizational advances is perhaps too high. The sexual and aggressive impulses modern society demands subjects renounce must return in the forms of organized violence, collective and individual neuroses—and in the same form of unconscious guilt Freud had argued elsewhere animated the totems and taboos of the great religions (Freud 1913, 1938). Although Freud did not draw the conclusion, the logic of his wider Kulturpessimismus points to the claim that the psychologically deep-set ‘illusions’ of religion could expect a long and viable future.

We are in danger

Genre films are constructed out of narrative patterns and plot points that involve or are predicted on crisis, on danger. This is the logic of much if not all mainstream genre cinema: drama has to take place for there to be a story to be told, and for pleasure and identification to be arrested and enthused. Forms of threatening disequilibrium can be personal, domestic, familial, local, external, supernatural and murderous; a way of life can be threatened as well as life itself. There are ideological dimensions at play; the crisis threatens to destabilize patriarchy, heterosexuality, social norms and expectations. Feelings and modes of affect are set in dangerous motion as the crisis unfolds. Trouble may emerge from a wayward or transgressive family member, or it may arrive in town on horses, stagecoaches, trains, cars, spaceships, and on the wind and in the water. The main (and minor) characters in the film are at the center of this storm, and that places viewers at the epicenter of the danger, also. The genre film places us all in danger. The genre film, then, has phenomenal, phenomenological and bio-political potential as a site of cognitive, ideological and carnal endangerment.

Seguimento clinoceletrográfico de criançcas e adolescentes com crise epiléptica única não-provocada

Os fenômenos convulsivos despertaram o interesse de estudiosos e pensadores já na Antigüidade, quando aspectos mágicos e sobrenaturais eram a eles associados. No século XIX foram lançadas as bases dos conceitos atuais sobre a desestruturação funcional cerebral na epilepsia, e Berger, em 1929, marcou definitivamente a história com a descoberta dos ritmos cerebrais. Crise epiléptica e epilepsia não são sinônimos, já que o último termo refere-se a crises recorrentes espontâneas. Ela costuma iniciar na infância, daí a preocupação com o risco de repetição do primeiro episódio e com a decisão de instituir tratamento medicamentoso. Fatores prognósticos são apontados, mas não há consenso. No Brasil existem poucas pesquisas nesta linha, tanto de prevalência da epilepsia como de fatores envolvidos na recorrência de crises. Este estudo teve como objetivo geral avaliar aspectos clinicoeletrográficos capazes de auxiliar no prognóstico e no manejo da epilepsia da criança e do adolescente. Foram objetivos específicos determinar a incidência de crise epiléptica não provocada recorrente; identificar fatores remotos implicados na ocorrência de crise epiléptica; relacionar tipo de crise com achados eletrencefalográficos; relacionar tipo de crise, duração da crise, estado vigília/sono no momento da crise e achados eletrencefalográficos com possibilidade de recorrência; e identificar os fatores de risco para epilepsia. Foram acompanhados 109 pacientes com idades entre 1 mês e 16 anos, com primeira crise não-provocada, em média por 24 meses, a intervalos trimestrais, no Hospital de Clínicas de Porto Alegre (HCPA). Foram realizados eletrencefalogramas (EEG) após a primeira crise; depois, solicitados anualmente. Não foram incluídos casos com epilepsia ou síndrome epiléptica bem definida, ou que fizeram uso prévio de drogas antiepilépticas. A média de idade foi 6 anos, com predomínio da faixa etária de 6 a 12 anos. Setenta eram meninos e 39, meninas. Os indivíduos brancos eram 92, e os não-brancos, 17. O nível de escolaridade dos casos esteve de acordo com a distribuição da idade e, entre os responsáveis, predominaram 8 anos de escolaridade. Foi possível concluir que as crises únicas não-provocadas mais freqüentes foram generalizadas, e sem predomínio significativo do tipo de EEG. A incidência de crise não-provocada recorrente foi 51,4%. História de intercorrências pré-natais maternas aumentou em 2 vezes o risco de repetição de crises. Via de nascimento, escore de Apgar no 5º minuto, relação peso ao nascer/idade gestacional, intercorrências no período pós-natal imediato e desenvolvimento neuropsicomotor não tiveram influência na recorrência. História familiar de crises mostrou tendência à significância estatística para repetição dos episódios, com risco de 1,7. Não foi encontrada associação entre tipo de crise e achado eletrencefalográfico. A maioria das crises foi de curta duração (até 5 minutos), mas este dado não esteve relacionado com a recorrência. Estado de vigília teve efeito protetor na recorrência. Se a primeira crise foi parcial, o risco de repetição foi 1,62, com tendência à significância. Quando o primeiro EEG foi alterado, houve relação significativa com primeira crise tanto generalizada como parcial. O primeiro EEG com alterações paroxísticas focais apontou risco de repetição de 2,90. Quando as variáveis envolvidas na repetição de crises foram ajustadas pelo modelo de regressão de Cox, EEG alterado mostrou risco de 2,48, com riscos acumulados de 50%, 60%, 62% e 68%; com EEG normal, os riscos foram 26%, 32%, 34% e 36% em 6, 12, 18 e 24 meses respectivamente.

Retratos, imagens, letras e numeros colados nas paredes:representaçãoes sociais de escola para ribeirinhos dos rios Môa e Azul - Acre

Remote Communities. Absence of artifacts and minimization of the exacerbated consumption of modernity. The desire which spread beyond what reality can provide. Expressions like this are present in this paper which focus in the social representations of school built by residents who live at the riversides of Môa and Azul Rivers, in Mâncio Lima, Acre State. To do so, we used the methodological contribution of the semi-structured interview, observation of the place while a natural inhabitant of the region, and also photos analyses of local reality. A key feature of the riverside homes is the glued paper on the walls of houses forming a panel set of portraits, pictures, letters and numbers for all appreciated. Regardless of whether or not read, there is admiration for the color of the images, the layout of the letters, and the things of the city awakening the desire to obtain school knowledge. The resident of this Amazon region maintains a close relationship between thinking, acting and feeling living harmonically with nature that connects them to the ideal landscape which is revisited by the graphic material that attracts wondering what exists beyond the shores of the river, beyond the horizon of green forests. It is a life entirely accomplished by the imaginary where exist a framed landscape merged and confused by the real and the supernatural, in which men and gods walk together by the forest, sailing by the rivers and seek a possible aesthetic between the real and ideal. The Theory of Social Representations spread by Serge Moscovici (2005) and Jodelet (2001) guided our gaze on the understanding what the school is and its representation to the riversides, as well to reveal the relation they practice with the knowledge that is spread by the mystification and the knowledge that is practice daily. Based in Bardin s thematic analysis (2004) we tried to raise such contents combining them in five analysis categories

Imagens da morte: um estudo do gênero policial-fantástico em Poe, Wilde e Christie

The mirror has always been related to different symbols, usually connected to self-knowledge and truth. This is due to the fact that this object shows whoever looks oneself in it an image as close to reality as it is possible. On the other hand, the mirror is also associated to mysticism and to the supernatural for it can magically duplicate one who looks into it. This ambiguous characteristic turns the mirror into an element that is fantastic in itself and places it in the central position of our discussion. Therefore, in this study, we analyze the texts In a Glass Darkly, by Agatha Christie, The Oval Portrait, by Edgar Allan Poe, and The Picture of Dorian Gray, by Oscar Wilde, giving special attention to the study of the images and artificial representations of men: the mirror, as an ephemeral representation; and the portrait, as an attempt to eternize an ephemeral image. We also discuss themes such as jealousy, the double, and death in the several forms in which it appears in the texts: suicides, homicides, attempted murders, death in life (mourning, separation, and developmental phases) all of which are, somehow, related to the specular representations. The narrative resource of using a mirror to introduce the supernatural event, along with the theme of death in all the narratives we have studied, and the difficulty to place these texts within the pre-established genres led us to categorize them as being part of a hybrid genre that presents characteristics both of the fantastic and of the detective story which we have named fantastic-detective story

Os significados do tabagismo construídos na dinâmica social

The present study has the purpose of catching the significances of smoking in the social dinamics based on the Theory of Social Representations. It was developed among adults with ages from 20 to 59 years, low social and economic conditions, at Natal RN, Brazil. The Free-words Association Test was applied as the instrument of data collection and a semi-structured interview with the smokers and non-smokers, besides a structured interview with smokers, non-smokers and ex-smokers. All data was analyzed by the descriptive statistics using the Analysis of Content Technique of the thematic kind and by the softwares ALCESTE and EVOC 2000. Elaborations about smoking were marked by social, cultural and historical dimension, however they showed sensibility to changes and revealed positive and negative aspects of the habit. The analysis of the semi-structured interviews showed the following categories and under-categories respectively: Initiation of the habit (Friends and Family and Appreciation and Beauty); Psychosocial Implications of smoking (Personal relationship, Work and Financial); Behavior when facing smoking (Positive, Negative and Neutral); Smoking Effects (Smokers´ health and the other people health); Description about oral diseases ( Bad breath, Oral cancer and Dental problems); Smoking treatment (Physician and psychological, Supernatural and Difficulties). ALCESTE analysis presented 4 classes: Ambivalence between pleasure and get ill, Smoking as a trouble and danger to society, Social discrimination of smokers and Mouth as a place of reaffirmation of the discrimination. Those helped us to understand the psychosocial repercussion of the habit. On the social representation structure we identified as a probable central nucleus of the smoker group the categories Pleasure and Bad to the health and as peripheral elements Alcoholic Drink, Financial damage and Nervousness. For the non-smoker group the category Bad to the health comes first and Stop Smoking comes as a peripheral element. Finally, we hope that the knowledge of these representations can contribute to plan and/or to rethink over the professional practices and public policies related to smoking. Besides that, for an amplified comprehension of the study object the discussions over the identified representations should be deepen and amplified to other population and social groups

Uma ironia fantástica: a dicotomia da narrativa em Murilo Rubião

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

As paisagens fantásticas numa cidade amazônica sob o olhar dos taxistas

Este artigo tem como objetivo analisar as impressões e as interpretações de antigos taxistas a respeito das mudanças ocorridas na cidade de Belém no decorrer do século XX. Nesse contexto, os motoristas autônomos de Belém figuram como portadores de um conhecimento sobre a cidade baseado na prática do deslocamento, revelando uma memória coletiva ligada aos processos de urbanização e transformação do viver na capital paraense. Emerge, então, um imaginário construído a respeito da cidade de Belém no interior de uma categoria profissional específica, bem como representações, aspirações, devaneios e queixas comuns sobre o viver na cidade. Assim, os pontos de vista desses profissionais sobre Belém aparecem expressos em narrativas fantásticas em que os taxistas encontram visagens e assombrações durante sua jornada de trabalho.

Fantástico e imaginário em contos de Inglês de Sousa

Nesta obra, o autor obidense, Herculano Marcos Inglês de Sousa, valoriza a mitologia amazônica ao destacar as lendas da cobra- grande, do pássaro acauã, do tajá, do boto e o temor presente no imaginário das pessoas que habitam regiões fronteiras à floresta amazônica, cenário de ocorrências fantásticas. A dissertação visa uma análise mais detalhada da narrativa “Acauã”, por ser aquela que reúne um número significativo de características fantásticas. Para desenvolver este trabalho, utilizou-se, como suporte teórico, principalmente, o búlgaro Tzvetan Todorov, que compreende o fantástico como um gênero proveniente de fatores que contrariam os fenômenos regidos por leis naturais, o que propicia dúvidas acerca desses fatores. Em decorrência disso, busca-se a compreensão em gêneros vizinhos, quais sejam: o estranho e / ou maravilhoso. Será ainda utilizado o estudo proposto pela francesa Irène Bessière, que entende o relato fantástico amparado em padrões socioculturais para fomentar o entendimento da imbricação dos dois campos: o natural e o sobrenatural. O trabalho está dividido em quatro capítulos: o primeiro traz algumas informações sobre a vida de Inglês de Sousa, um curto panorama do Realismo/Naturalismo e a estruturação do cânone; o segundo é constituído de uma visão conceitual tanto do fantástico quanto dos índices de estranhamento insertos no texto literário; o terceiro põe em evidência as obras de Sousa, como exemplo de literatura marcada pelo fantástico e pelo imaginário, e uma teia narrativa, cujo centro é o conto “Acauã”, além de uma comparação entre a narrativa “Acauã” de Sousa e a de Nery; e o quarto capítulo consiste em uma proposta de análise do conto fantástico “Acauã” sob a reflexão de Felipe Furtado.

A inquietude espiritual em Julien e Cornélio Penna

Pós-graduação em Letras - IBILCE

O caleidoscópio de José J. Veiga: intersecções estruturais em narrativas insólitas

Pós-graduação em Letras - FCLAS

Frenético e melodrama: os vampiros de Polidori e Nodier

Charles Nodier foi um dos grandes responsáveis pela divulgação do romance gótico ou roman noir na França, o qual passou a denominar “frenético”, remetendo ao exagero que caracterizaria esse tipo de literatura. No início do século XIX, no romantismo francês, uma intensa circulação estabelece-se entre o frenético e o melodrama em um intercâmbio de autores, motivos e procedimentos literários. A partir de 1820, o melodrama instala-se no sobrenatural, sobretudo com Le vampire de Nodier, composto em colaboração com Jouffroy e Carmouche; esse melodrama, adaptado do texto de Polidori, The vampire, publicado em 1819, harmoniza-se com o retorno de popularidade por que passa o gothic novel. Essa união do frenético ao melodrama deixa ver duas tendências literárias bastante fecundas no romantismo francês, que se irmanam ainda no sentido em que respondem aos anseios de um público fatigado por séculos de racionalismo e ávido por toda a espécie de sensações e sentimentos.