Imaginarios de belleza en estudiantes de Educación Física

“Imaginarios de belleza en estudiantes de Educación Física de la Universidad Pedagógica Nacional (UPN) Centro Valle de Tenza (CVT)” tiene como propósito describir los imaginarios de los estudiantes acerca del cuerpo y la Educación Física en su relación con la belleza. Esta investigación muestra cómo el cuerpo de los estudiantes es objeto de discursos hegemónicos por parte de la publicidad y los medios de comunicación. Así mismo, evidencia la importancia de formar futuros licenciados en Educación Física que asuman de forma crítica las problemáticas de la educación del cuerpo contemporáneo.

On the troublesome relationship of feminism and terrorism: representing the female terrorist in contemporary art

This paper analyses tendencies in debates about cultural representations of terrorism to assume that artists make critical interventions, while the mass media circulates stereotypes. Some recent feminist analyses of female terrorist acts have re-instituted essentialist arguments in which violence and terrorism is described as inherently masculine, while women are by nature pacifist, so that femininity is the antithesis of militarism. More progressive analyses mostly tend to expose the circulation of stereotypes and their gender bias, in order to protest the misrepresentation of women in violence. These analyses do not construct alternative accounts. Through an analysis of two works by artists Hito Steyerl and Sharon Hayes, the paper argues that some of the moves to re-image the question of women, violence and agency have already been made in contemporary art practices. Through analysing legacies of terrorism and feminism, it becomes possible to rethink the question of agency, militancy and the nature of political art. The paper appears in an edited interdiscplinary collection arising from a conference at Universität der Bundeswehr in Munich. It relates to wider projects involving collaborations with Birkbeck and Edinburgh on representations of terrorism and on violence and contemporary art.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Os meios de comunicação de massa como aparelhos de hegemonia

Nas sociedades fundadas no modo de produção capitalista, os meios de comunicação de massa exercem funções políticas e econômicas fundamentais, atuando no sentido de inculcar a ideologia que dá sustentação a esse modelo econômico. A compreensão crítica de tais funções, pode ser obtida tomando-se como referência a teoria de Antonio Gramsci que situa, com precisão, através de seus conceitos de homem, ideologia, Estado, hegemonia, cultura e relações pedagógicas, a importância política dos meios de comunicação de massa, entendidos como aparelhos de hegemonia do Estado. No contexto específico da América Latina, os meios de comunicação de massa assumem dupla importância na medida em que suas práticas hegemônicas atendem, concomitantemente, aos interesses do capitalismo internacional - sobretudo aos dos Estados Unidos - e aos interesses das classes dominantes de cada um dos países deste continente, envolvidos em alianças político-econômicas, com as nações que detêm a hegemonia internacional. De acordo com essa perspectiva, podemos compreender o significado político do processo de implantação e desenvolvimento dos meios de comunicação, sobretudo da televisão, no Brasil e explicitar o sentido dessa prática hegemônica que assumiu papel de maior relevância após o golpe militar de 1964, quando a ideologia da Segurança Nacional encontrou, na comunicação de massa, difusora dos produtos da indústria cul tural, o canal mais adequado para desenvolver sua estratégia de atuação, denominada ação psicológica, objetivando consuiltar a anuência da totalidade social ao regime político que, então, se instalou no país. O caso específico da Rede Globo de Televisão, se constitui num dos mais tontundentes exemplos da concretização desta prática e pode, quando analisado, elucidar, através de fatos concretos, os mecanismos hegemônicos internacionais e nacionais que se encontram presentes desde o histôrico da implantação da referida emissora em nível de rede nacional, até os processos diários de produção de programas como o Jornal Nacional e o Fantástico - o Show da Vida. Esta análise, entretanto, não pode deixar de ressaltar que o processo de inculcação ideológica encontra diversos obstáculos a seu êxito integral junto às classes subalternas, que não podem ser compreendidas como meras receptoras passivas das mensagens produzidas pela classe dominante. Os mecanismos de resistência dessas classes existem e, embora não sejam, ainda, suficientemente conhecidos, não podem deixar de ser considerados quando o que se pretende é compreender o real significado das funções e do alcance dos meios de comunicação na sociedade.

Critical parameter determination of sonic flow controller diamond microtubes and micronozzles

In this article, the authors measure throughput of sonic diamond microtubes and micronozzles that can work as passive gas flow controllers and flow meters under choking conditions. The behavior of the outlet pressure through the microdevices using an experimental setup with constant volume and constant temperature was determined in order to obtain the critical throughput, the critical mass flow rate, and the discharge coefficients of the diamond sonic microdevices. © 2007 American Vacuum Society.

Reality-show: a tv na era da globalização

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Romance e experimentação com a linguagem em Boquitas pintadas, de Manuel Puig, e Onde andará Dulce Veiga?, de Caio Fernando de Abreu

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Los medios de comunicación social y su incidencia en el desarrollo local en el canton y Provincia de Zamorra Chinchipe - Ecuador

Analisa a diversidade de formas dos sistemas de comunicação em Zamora - no Equador, os relacionamentos da instituição, participação social e mídias sociais a partir da produção e emissão radiofônica, televisão, comunicação impressa (escrita) e a presença das novas tecnologias na comunicação, tentando achar espaços dos quais seja possível desenvolver práticas alternativas e democráticas para contribuir com o desenvolvimento social. Examina as práticas de comunicação radiofônica, sendo um dos meios principais e com maior tradição na área. Estuda o rádio, particularmente local, analisando seus modelos e programações, observando em cada um deles suas características, objetivos e estratégias assumidas desde sua visão comercial ou ideológica, seu nível profissional e inovação técnica, prestando atenção e nomeando valor à posição critica dos ouvintes, para interpretar as tendências atuais e futuras que se apresentam para eles.Finalmente, chegou-se à comunicação no contexto, examinando os usos e formas, como também a influencia positiva ou negativa na formação da identidade, harmonia com o ambiente, valores e conhecimento em perspectiva de melhorar a qualidade da vida da população. A investigação apóia-se no conhecimento cientifico, pois aplica a técnica qualitativa: Diversidade de grupos focais, entrevistas, observação e uso de investigação bibliográfica.O trabalho considera a historia, a dinâmica própria e a estima que tem os Zamoranos da percepção de sua identificação no contexto de códigos, idiomas e bens, postura desde a qual eles estabelecem normas que devem ser usadas para o seu uso, enquanto permitem articular pontos de vista, analise e conceitos, examinar a teoria para entender o papel que melhor desempenham as mídias sociais e sua importância na sociedade.

Mensuração da disponibilização de informações e do nível de interação dos ambientes informacionais digitais da administração municipal com a sociedade

Pós-graduação em Ciência da Informação - FFC

A cultura corporal na mídia: possibilidades pedagógicas para a educação física escolar

The Physical education has as objective the students integration in the body movement culture, forming citizens to reframe different cultural aspects of the physical activity, enabling a more critical look. Currently selecting how the body movement culture has been widely approached by Mass Media it is detected a new pedagogical possibility. The several media equipment massively bomb (images, sounds and information) interfering on how the students interpret the reality, since they are exposed to these multiple information and at the same time are absent of a more critical look about what they receive. In this way, the objective of this work was to perform a research in the news/articles from the Jornal A Folha de São Paulo, that allows the development of classes based on the elements of body movement culture and apply them in a public school from Rio Claro-SP city, to detect possibilities and difficulties in the work with the media in the school environment. It employed a qualitative research. The data obtained in this study indicate that the media shows up as a good teaching tool for teaching physical education classes, since students found the classes to enriching the learning process, highlighting topics such as innovation and the closeness they had with the worked information. However, it is necessary to develop further studies to raise other possibilities as well as alternatives to deal with this new reality of the school context

A ideologia dos meios de comunicação social na formação da consciência familiar

Pós-graduação em Serviço Social - FCHS

Letramento digital em massa com objetos de aprendizagem

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

Filiera corta: percorsi di innovazione tecnici, organizzativi e sociali nella gestione strategica delle nicchie. Esperienze in Toscana e in Provenza

There is a widening consensus around the fact that, in many developed countries, food production-consumption patterns are in recent years interested by a process of deep change towards diversification and re-localisation practices, as a counter-tendency to the trend to the increasing disconnection between farming and food, producers and consumers. The relevance of these initiatives doesn't certainly lie on their economic dimension, but rather in their intense diffusion and growth rate, their spontaneous and autonomous nature and, especially, their intrinsic innovative potential. These dynamics involve a wide range of actors around local food patterns, embedding short food supply chains initiatives within a more complex and wider process of rural development, based on principles of sustainability, multifunctionality and valorisation of endogenous resources. In this work we have been analysing these features through a multi-level perspective, with reference to the dynamics between niche and regime and the inherent characteristics of the innovation paths. We apply this approach, through a qualitative methodology, to the analysis of the experience of farmers’ markets and Solidarity-Based Consumers Groups (Gruppi di Acquisto Solidale) ongoing in Tuscany, seeking to highlight the dynamics that are affecting the establishment of this alternative food production-consumption model (and its related innovative potential) from within and from without. To verify if and in which conditions they can constitute a niche, a protected space where radical innovations can develop, we make reference to the three interrelated analytic dimensions of socio-technical systems: the actors (i.e. individuals. social groups, organisations), the rules and institutions system, and the artefacts (i.e. the material and immaterial contexts in which the actors move). Through it, we analyse the innovative potential of niches and the level of their structuration and , then, the mechanisms of system transition, focusing on the new dynamics within the niche and between the niche and the policy regime emerging after the growth of interest by mass-media and public institutions and their direct involvement in the initiatives. Following the development of these significant experiences, we explore more deeply social, economic, cultural, political and organisational factors affecting innovations in face-to-face interactions, underpinning the critical aspects (sharing of alternative values, coherence at individual choices level, frictions on organisational aspects, inclusion/exclusion, attitudes towards integration at territorial level), towards uncovering until to the emergence of tensions and the risks of opportunistic behaviours that might arise from their growth. Finally, a comparison with similar experiences abroad is drawn (specifically with Provence), in order to detect food for thought, potentially useful for leading regional initiativestowards transition path.

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.