DOCSLIB.ORG

Audience Perceptions of Telenovelas and Their Representation of Economic Disparity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The College of Wooster Open Works Senior Independent Study Theses 2017 La Fiebra Telenovela: Audience Perceptions of Telenovelas and their Representation of Economic Disparity Brenda Khor The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Recommended Citation Khor, Brenda, "La Fiebra Telenovela: Audience Perceptions of Telenovelas and their Representation of Economic Disparity" (2017). Senior Independent Study Theses. Paper 7815. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2017 Brenda Khor LA FIEBRA TELENOVELA: AUDIENCE PERCEPTIONS OF TELENOVELAS AND THEIR REPRESENTATION OF ECONOMIC DISPARITY by Brenda Khor An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 9, 2017 Advisor: Michelle Johnson, Ph.D. Abstract Telenovelas play an important role in communicating Latin American issues. Viewers watch and engage with this popular melodramatic medium on a daily basis. As a result, telenovelas are a valuable ritual for Latin Americans. Telenovelas affect how societies view themselves. They expose viewers to social and political issues with the aim of public discourse (Joyce 49; Pastina 165; Pastina et al. “The Centrality” 2). My research explores audience engagement with contemporary Mexican telenovelas, focusing on their views of economic disparity representation, and how those representations impact their understanding of self and society. To carry out my study, I conducted ethnographic interviews with 13 Mexican telenovela viewers. Questions covered areas including their demographics and education, telenovela viewing habits, and economic disparity indicators. The interviews were analyzed using concepts from scholarly literature on such topics as the movement from serials to telenovelas series, telenovelas’ characteristics, and the Cultivation Theory. I found that while economic disparity is not directly discussed in telenovelas, participants perceived it through fashion, setting, education, and language. Participants noticed that telenovelas contain fragments of Mexican culture, but these fragments are too obscure to be seen as accurate reflections of reality, or in connection to their identities. Keywords: Mexican telenovelas, economic disparity, audience perceptions, cultural identity ii Acknowledgements A year and a half after beginning this intense and tiring process, I finally completed my Senior Independent Study. I would like to thank every individual who assisted me with my research project. Without their unconditional support, mentorship, and faith, I would not have been able to complete my masterpiece. First, I must thank my advisor Dr. Michelle Johnson. You were instrumental in providing me with constructive feedback and giving me a space to brainstorm, vent, laugh, and be free of the “outside world” for an hour per week. Without your guidance, words of wisdom, and witty attitude, I would not have been able to find this intensive process so seamlessly pleasing to write. You were definitely the perfect advisor for me. Second, I would like to thank my mentors at The College of Wooster, including Dr. Atay, Professor Boser, Professor DiDomenico, Professor Bowen, Professor Moynihan, Professor Bostdorff, Professor Singh, and Professor Brazeau. Each and every one of you have impacted the way I approached this project. You all have influenced me, pushed me to critically think inside and outside of the classroom, and have taught me to take ownership in my education. Next, I am immensely grateful to have received the Henry J. Copeland Fund for my Independent Study. Without this funding, my research project would not have been possible. I had the opportunity to go to Mexico City, Mexico, and interview participants. I returned to the United States as an immersed scholar with in-depth responses for my research project, and while abroad, made friends that I will stay in contact with. Furthermore, I have a whole new love for taco stands. Additionally, I would like to extend my greatest appreciation to the nasty women of the Writing Center: Tessa Hall, Lynette Mattson, and Gillian Lee. First for being strong, beautiful iii women who I aspire to be. Second for always assisting me with IS and my life, on and off the clock, without any hesitation. Whether it was a time of crisis or a time of peace, I knew you all would be there in my corner. I am extremely grateful for my Posse, Clarke Martin, Alisha Wies, Amadou Bah, Ines Yaneli Bibiano Baltzar, Vesselina Kotzeva, and the Buford Highway community, all of whom I call my family. To my Posse, thank you for seeing so much potential in me as well as challenging my style of thinking. We came to The College of Wooster together and I would not have seen it any other way than to receive that diploma with you all. To Clarke, thank you for the endless laughs, funny memes, and simply being a beautiful human being. To Alisha, thank you for being my writing and editing savior, and always ensuring me that I am doing an awesome job. To Amadou, thank you for the constant encouraging texts and being there for me whenever I need someone to talk to. To Yaneli, thank you for being my translator, my partner in shade, and the yin to my yang. To Vesselina, thank you for the random check-ups on making sure I am still alive and taking time to proofread my IS when you are busy in law school. To my Buford Highway community, thank you for the infinite inspiration, perseverance, and never allowing me to forget where I come from. BuHi always has a place in my heart. Thank you all for accepting me as me. Finally, I would like to extend a token of my appreciation to my family: my parents and three sisters. To my parents, thank you for being my strength, my drive, and my rock. Your sacrifices mean everything to me. To my sisters, thank you for the many enthusiastic and sarcastic group texts in making sure I finish this project strong. Thank you, family, for the amount of love you all have given me; it has pushed me to not only finish my Senior Independent Study journey but also made me grow into a stronger person. iv v Table of Contents Abstract ........................................................................................................................................... ii Acknowledgements ........................................................................................................................ iii CHAPTER I: INTRODUCTION .................................................................................................... 1 Purpose Statement ........................................................................................................................... 1 Rationales ........................................................................................................................................ 2 Definitions....................................................................................................................................... 3 Method ............................................................................................................................................ 4 Conclusion ...................................................................................................................................... 4 CHAPTER II: LITERATURE REVIEW ....................................................................................... 6 Serial Stories ................................................................................................................................... 6 Telenovelas ..................................................................................................................................... 8 History of Telenovelas in Latin America ................................................................................................. 9 Telenovelas in Global Media Market ..................................................................................................... 10 Characteristics of Telenovelas ................................................................................................................ 11 Features .............................................................................................................................................. 11 Mechanisms ........................................................................................................................................ 13 Mexico and Telenovelas ............................................................................................................... 16 Mexican Culture ..................................................................................................................................... 16 Mexican Telenovelas .............................................................................................................................. 19 Sabido’s Techniques ........................................................................................................................... 20 Economic Disparity ...................................................................................................................... 23 Economic Disparity Indicators in Telenovelas ......................................................................................
Recommended publications
  • Nota Aclaratoria Referente Al Ntimero Anterior: Aiio XXVII Ntim. 2 (2000)

    Nota Aclaratoria Referente Al Ntimero Anterior: Aiio XXVII Ntim. 2 (2000)

    • Nota aclaratoria referente al ntimero anterior: Aiio XXVII Ntim. 2 (2000) La bibliografia que tomamos como base para Ia que publicamos en el numero anterior de la Revista sobre Diaz Valcarcel fue preparada por la doctora Zoraida Fajardo Heyliger, quien present6 su tesis doctoral "La narrativa de Emilio Diaz Valcarcel" en Ia Universidad Complutense de Madrid, Facultad de Filologia, Secci6n de Literatura Hispanica en 1989. 390 , BIBLIOGRAFIA FUNDAMENTAL DE Y SOBRE DULCE MARIA LOYNAZ Este trabajo es una bibliografia fundamental de y sobre la poeta cubana Dulce Maria Loynaz ( 1902-1997) merecedora por su obra 1iteraria de ser ga­ Jardonada en Espana, en 1992, con el premio "Cervantes". La calidad de Ia obra de Loynaz, y el Iugar que ocupa no solo en Ia historia de Ia literatura cubana en particular sino en Ia hispanoamericana en general, no paso inadvertida ante los crfticos en Espana que ]e otorgaron el mas prestigioso galardon de literatu­ ra en lengua espanola. La realidad del premio "Cervantes" revitalizo la produccion literaria de Loynaz quien vio reeditadas muchas de sus obras durante la decada de los noventa. La poeta, que hasta entonces habia vivido sumida en singular mutis­ mo en su vieja y aristocratica mansion de La Habana, comprobo con satisfac­ cion como resurgian sus poemas ala Juz de nuevos estudios y como Ilegaban a la prensa nuevas antologias de su obra. Sin duda, esto motivo a Loynaz a pu­ blicar lo que quedaba inedito de su obra, incluyendo un epistolario. Dulce Maria Loynaz seria basta su fallecimiento en La Habana en 1997, la directora emerita y vitalicia de la Academia Cubaila de Ia Lengua correspondiente de Real Academia de Ia Lengua Espanola.
  • The Centrality of Telenovelas in Latin America's

    The Centrality of Telenovelas in Latin America's

    The centrality of telenovelas in Latin America’s everyday life: Past tendencies, current knowledge, and future research Antonio C. La Pastina Texas A&M University [email protected] Cacilda M. Rego University of Kansas [email protected] Joseph D. Straubhaar University of Texas at Austin [email protected] Every evening, millions of viewers throughout Latin America tune in their television sets to watch telenovelas. For more than thirty years now telenovelas have dominated primetime programming on most of the region’s television. And here Latin America refers to more than a geographic area: it covers a culturally constructed region that goes from the southern tip of South America to the United States, where one can watch daily telenovelas on the two Hispanic networks, Univision and Telemundo,[i] and Canada. In the last few decades Brazilian and Mexican telenovelas, and to a lesser extent Venezuelan, Colombian, Argentineans and others, have been exported to more than a hundred nations around the world (Melo, 1988). In this increasingly international scenario, Latin American telenovelas have been aired in other Portuguese and Spanish speaking markets, and in dubbed and sometimes edited versions in many different national contexts (Allen, 1995; McAnany, 1984; Melo, 1988; Sinclair, 1996; Straubhaar, 1996). This international presence has challenged the traditional debate of cultural imperialism and North-South flow of media products (Sinclair, 1996; Wilkinson, 1995). Telenovelas’ popularity has lead to its increased scrutiny among scholars and the media industry, and yet it seems that not everyone is talking about the same thing. A number of arguments start with the contention that Latin American telenovela is a mere showcase for “bourgeois society” with the pernicious effect of mitigating – through the illusion of abundance – the unfulfilled material aspirations of its audience, all the while legitimating a way of life that takes consumerism to the extreme (Oliveira, 1993).
  • Who Is Afro-Latin@? Examining the Social Construction of Race and Négritude in Latin America and the Caribbean

    Who Is Afro-Latin@? Examining the Social Construction of Race and Négritude in Latin America and the Caribbean

    Social Education 81(1), pp 37–42 ©2017 National Council for the Social Studies Teaching and Learning African American History Who is Afro-Latin@? Examining the Social Construction of Race and Négritude in Latin America and the Caribbean Christopher L. Busey and Bárbara C. Cruz By the 1930s the négritude ideological movement, which fostered a pride and conscious- The rejection of négritude is not a ness of African heritage, gained prominence and acceptance among black intellectuals phenomenon unique to the Dominican in Europe, Africa, and the Americas. While embraced by many, some of African Republic, as many Latin American coun- descent rejected the philosophy, despite evident historical and cultural markers. Such tries and their respective social and polit- was the case of Rafael Trujillo, who had assumed power in the Dominican Republic ical institutions grapple with issues of in 1930. Trujillo, a dark-skinned Dominican whose grandmother was Haitian, used race and racism.5 For example, in Mexico, light-colored pancake make-up to appear whiter. He literally had his family history African descended Mexicans are socially rewritten and “whitewashed,” once he took power of the island nation. Beyond efforts isolated and negatively depicted in main- to alter his personal appearance and recast his own history, Trujillo also took extreme stream media, while socio-politically, for measures to erase blackness in Dominican society during his 31 years of dictatorial the first time in the country’s history the rule. On a national level, Trujillo promoted
  • Redalyc.Testing the Effectiveness of an Entertainment-Education Health

    Redalyc.Testing the Effectiveness of an Entertainment-Education Health

    Investigación & Desarrollo ISSN: 0121-3261 [email protected] Universidad del Norte Colombia Arroyave, Jesús Testing the effectiveness of an entertainment-education health-focused soap opera: exposure and post-discussion in colombian young adults Investigación & Desarrollo, vol. 16, núm. 2, 2008, pp. 232-261 Universidad del Norte Barranquilla, Colombia Available in: http://www.redalyc.org/articulo.oa?id=26816204 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative testing the effectiveness of an entertainment-education health-focused soap opera: exposure and post-discussion in colombian young adults Jesús Arroyave jesús arroyave cabrera ph. d. en comunicaciones, univeristy of miami, usa master in communication and information studies, rutgers university, usa. magíster en educación, universidad javeriana – norte. profesor asistente, universidad del norte. [email protected] investigación y desarrollo vol. 16, n° 2 (2008) - issn 0121-3261 232 abstract Entertainment-Education interventions were evaluated using quantitative and qualitative methodologies to assess what specific variables may make communication strategy more effective. Varia- bles including length of the Entertainment-Education serial dra- ma and the post-viewing discussion sessions in their relation to cognitive, attitudinal and behavioral intentional outcomes were examined using experimental design and focus group discussions. It was concluded that the length of the Education-Entertainment serial drama did not produce significant change in the overall efficacy of the intervention. Overall the goal of this paper is to extend the research on a promising form of health intervention that has the potential to make the difference in our society.
  • Afro-Descendants, Discrimination and Economic Exclusion in Latin America by Margarita Sanchez and Maurice Bryan, with MRG Partners

    Afro-Descendants, Discrimination and Economic Exclusion in Latin America by Margarita Sanchez and Maurice Bryan, with MRG Partners

    macro study Afro-descendants, Discrimination and Economic Exclusion in Latin America By Margarita Sanchez and Maurice Bryan, with MRG partners Executive summary Also, Afro-descendants do not have a significant voice in the This macro study addresses the economic exclusion of people planning, design or implementation of the policies and activi- of African descent (Afro-descendants) in Latin America. It ties that directly affect their lives and regions. This is an aims to examine how and why race and ethnicity contribute to important omission; while Afro-descendant populations may the disproportionately high levels of poverty and economic dis- be materially poor, they have a rich cultural heritage and access crimination in most Afro-descendant communities, and how to key natural resources. Development strategies need to recog- to promote change. nize the historical, social and cultural complexity of There are clear links between Afro-descendant communi- Afro-descendants’ poverty and consult them on the most cul- ties and poverty, however there is a need for disaggregated data turally appropriate means of achieving positive change. to provide a more precise picture, and to enable better plan- The views of Afro-descendants are central to much of the ning and financing of development programmes for this highly information used in this study, which uses a rights-based marginalized group. approach. The study explains some of the causes and conse- A prime cause for the lack of quantitative material, is that quences of Afro-descendants’ exclusion, and offers donors and governments have only recently begun to acknowl- recommendations for a more inclusive minority rights-based edge Afro-descendant populations’ existence.
  • Dulce Maria Loynaz: Fe Religiosa Y Obra Poetica

    Dulce Maria Loynaz: Fe Religiosa Y Obra Poetica

    DULCE MARIA LOYNAZ: FE RELIGIOSA Y OBRA POETICA Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. _____________________________________ Sara Marta González Certificate of Approval: ____________________________ ______________________________ Jorge Muñoz Jana Gutiérrez, Chair Assistant Professor Associate Professor Spanish Spanish ____________________________ ______________________________ Patrick Greene George T. Flowers Assistant Professor Dean Spanish Graduate School DULCE MARIA LOYNAZ: FE RELIGIOSA Y OBRA POETICA Sara Marta González A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Masters of Arts Auburn, Alabama December 19, 2008 DULCE MARÍA LOYNAZ: FE RELIGIOSA Y OBRA POÉTICA Sara Marta González Permission is granted to Auburn University to make copies of this thesis at its discretion upon request or individuals and at their expense. The author reserves all publication rights. __________________________ Signature of Author ___________________________ Date of Graduation iii THESIS ABSTRCT DULCE MARÍA LOYNAZ: FE RELIGIOSA Y OBRA POÉETICA Sara Marta González Master of Arts, December 19, 2008 (B. A., Florida Internacional University, 2006) 77 Typed Pages Directed by Jana Gutiérrez Esta tesis consiste en un estudio de la temática religiosa en la obra de Dulce María Loynaz. Se analizan voces líricas opuestas que van desde la devoción hasta la irreverencia. Con el fin de resolver esta contradicción se analiza la conexión entre estos registros tan diferentes y el contexto histórico biográfico. Primeramente se realiza una exposición de los momentos más significativos en la vida de Loynaz y de la publicación cronológica de su obra, junto a un análisis de su significativo papel en la literatura cubana e hispanoamericana.
  • Printing the Revolution! the Rise and Impact of Chicano Graphics, 1965 to Now November 20, 2020 — August 8, 2021 Checklist

    Printing the Revolution! the Rise and Impact of Chicano Graphics, 1965 to Now November 20, 2020 — August 8, 2021 Checklist

    ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now November 20, 2020 — August 8, 2021 Checklist Lalo Alcaraz I Stand with Emma 2018 digital image Smithsonian American Art Museum Gift of the artist 2020.41 Jesus Barraza, Dignidad Rebelde I Am Alex Nieto and My Life Matters 2014 screenprint on paper Smithsonian American Art Museum Gift of the artist 2020.39.4 Jesus Barraza, Dignidad Rebelde; and Nancypili Hernandez, Indian Land 2010 screenprint on paper Smithsonian American Art Museum Museum purchase through the Samuel and Blanche Koffler Acquisition Fund 2020.39.7 Jesus Barraza, Dignidad Rebelde Steve Biko 2001/2013 screenprint on paper Smithsonian American Art Museum Museum purchase through the Samuel and Blanche Koffler Acquisition Fund 2020.39.3 ¡Printing the Revolution! The Rise and 1 Impact of Chicano Graphics, 1965 to Now Smithsonian American Art Museum Checklist 11/16/2020 – RM Jesus Barraza, Dignidad Rebelde Edward Said 2005 screenprint on paper Smithsonian American Art Museum Museum purchase through the Samuel and Blanche Koffler Acquisition Fund 2020.39.8 Francisco X Camplis Untitled (February), from Galería de la Raza's 1975 Calendario 1975 screenprint on paper Smithsonian American Art Museum Gift of the Margaret Terrazas Santos Collection 2019.52.12 Barbara Carrasco Messages to the Public: Pesticides! (Presented by Public Art Fund, July 1, 1989-July 31, 1989 on Times Square Spectacolor board, New York City) 1989 analog video transferred to digital video, 0:48 minutes Smithsonian American Art Museum Gift of the artist 2020.31 Barbara Carrasco Dolores 1999 screenprint on paper Smithsonian American Art Museum Museum purchase through the Frank K.
  • Dulce María Loynaz

    Dulce María Loynaz

    Dulce María Loynaz PREMIO DE LITERATURA en lengua castellana MIGUEL DE CERVANTES tm Dulce María Loynaz 3» MINISTERIO DE CULTURA Dirección General del Libro y Bibliotecas Centro de las Letras Españolas Edita: Dirección General del Libro y Bibliotecas Centro de las Letras Españolas (Ministerio de Cultura) Colimaría de la exposición: Clcva Solis Diseño gráfico: Lola Garrido + Pablo Olivares ((fl rtecontexto, S. L.) Maquetación: Mar García Lozano Fotografías: KORDA,José Antonio Figueroa, archivo personal de Dulce María Loynaz y Casa de America Fotomecánica: Punto Láser, S. A. • Madrid Impresión: Artcgraf, S. A. Sebastián Gómez, 5 - Madrid ISBN: 84-7483-934-3 Depósito Legal: M. 10.133 - 1993 Dulce María Loynaz 3» PREMIO DE LITERATURA en lengua castellana MIGUEL DE CERVANTES 1992 MINISTERIO DE CULTURA | Dirección General del Libro y Bibliolecai | Cantío d» !•• Litrai Españolea I DULCE MARÍA LOYNAZ PRELIMINARES fe PRESENTACIÓN ulce María Loynaz, la segunda mujer que inscribe su nombre en el palmares del *S Premio Cervantes y a la que dedicamos las páginas de este álbum, ha vivido su existencia en la atmósfera recoleta de un jardín. Ese jardín es real, rodea una casa de El Vedado, el barrio de La Habana que la vio nacer, en el que ha transcurrido casi la to• talidad de su vida y por el que han pasado ilustres personalidades hispanoamericanas en épocas sucesivas. Muchos de los personajes que trabaron amistad con Dulce María o con la familia Loynaz aparecen retratados en este álbum. También se refleja en él lo que escribie• ron algunos de los que conocieron a la escritora, y sobre todo se incluyen numerosos frag• mentos, algunos inéditos, de la obra de la propia homenajeada.
  • Telenovela, Reception and Social Debate1 Telenovela, Recepción Y Debate Social

    Telenovela, Reception and Social Debate1 Telenovela, Recepción Y Debate Social

    AMIGO, B., BRAVO, M. y OSORIO, F. Soap operas, reception and social debate CUADERNOS.INFO Nº 35 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info doi: 10.7764/cdi.35.654 Received: 10-15-2014 / Accepted: 11-25-2014 Telenovela, reception and social debate1 Telenovela, recepción y debate social BERNARDO AMIGO, Universidad de Chile, Santiago, Chile ([email protected]) MARÍA CECILIA BRAVO, Universidad de Chile, Santiago, Chile ([email protected]) FRANCISCO OSORIO, Universidad de Chile, Santiago, Chile ([email protected]) ABSTRACT RESUMEN The essay summarises qualitative empirical research El artículo sintetiza un conjunto de investigaciones on Chilean television carried out between 2007 and empíricas cualitativas sobre la ficción televisiva en 2014. The article focuses on the interactive mecha- Chile, realizadas entre 2007 y 2014. Específicamente, nism that mutually influences television and viewers se centra en los mecanismos de interacción que se through fiction (telenovela). It concludes that the configuran entre la televisión y los telespectadores a dynamic of social debate can influence the symbo- través del género televisivo de la telenovela. Concluye lic conditions for the production of television dis- que las dinámicas del debate social pueden influir course, argument that opposes the classic thesis of en las condiciones simbólicas para la producción de television direct effects on society. discursos en la televisión, argumento que es contrario a la tesis clásica de los efectos directos de la televisión en la sociedad. Keywords: Telenovela, identification, media representa- Palabras clave: Telenovela, identificación, representación tion, social uses, gender. mediática, usos sociales, género. •How to cite: Amigo,CUADERNOS.INFO B., Bravo, M.
  • Glocalized Telenovelas and National Identities A

    Glocalized Telenovelas and National Identities A

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography Glocalized telenovelas and national identities A ‘textual cum production’ analysis of the ‘telenovelle’ Sara, the Flemish adaptation of Yo soy Betty, la fea Fien Adriaens & Daniel Biltereyst Abstract This article examines the globalization of the telenovela format in relation to issues of adaptation, proximities and national identities. As a case study of glocalized telenovelas, it deals with the domestic adaptation of one of the most popular Latin American telenovelas, Yo soy Betty, la fea (1999-2001) into the „telenovelle‟ Sara (2007-08), which takes place in a Belgian (more specifically Flemish) context. Therefore, this article specifically asks how Flemish identities are represented through the production process of Sara. While examining the international flow of telenovelas and the cross-cultural adaptation of the telenovela format, this case study considers an additional geopolitical and cultural context, as well as confronts and combines thematic textual analysis with expert interviews. Considering the successful export of „canned‟ telenovelas and the adaptation of this format within the framework of national identity and identification, this paper deals with the emergence of the „telenovelle‟ as a local genre that is inspired by, and modifies, the Latin American original format. 1 Introduction This article focuses on the globalization of the telenovela format in relation to issues of adaptation and national identities. It deals with the question of how the telenovela format is successfully adapted to regions outside Latin America, particularly in Western Europe. Since a television format‟s success is closely tied to the local and national culture, and domestic television programs play a crucial role in the construction and reproduction of national identities (Biltereyst, 1991; Straubhaar, 1991; Waisbord, 2004), we question whether and how national identities are represented through production decisions in the creation process.
  • The Social Contract in Latin America and the Caribbean: Situation and Policy Challenges

    The Social Contract in Latin America and the Caribbean: Situation and Policy Challenges

    Chapter 1 The social contract in Latin America and the Caribbean: Situation and policy challenges This chapter illustrates the weakening of the social contract in the region, and aims to better understand its intricacies and the policy challenges and areas that are crucial for its strengthening. First, it presents evidence that suggests the growing disconnection between citizens and public institutions in Latin America and the Caribbean (LAC), which in turn is a sign of a weaker contract. This section argues that two factors could explain this growing disconnection: the rising aspirations of a middle class that has significantly expanded in the last decade, and the difficulties of public institutions to respond to new socio-economic challenges and guarantee greater well-being. The strength of the social contract is also assessed by exploring tax morale – i.e. the willingness to pay taxes – in the region. Second, it looks at how well-being has diminished recently in LAC, and suggests the need to rethink institutions to provide better opportunities and public goods and services and respond to citizens’ evolving demands, thus improving their well-being. LATIN AMERICAN ECONOMIC OUTLOOK 2018: RETHINKING INSTITUTIONS FOR DEVELOPMENT © OECD/UNITED NATIONS/CAF 2018 43 1. ThE soCIAL ConTRACT in LATin AmERICA AND THE CARibbEAN: SITUATion AND POLICY CHALLENGES The social contract in Latin America and the Caribbean: situation and policy challenges Latin America and the Caribbean witness a growing disconnection between citizens and the state Lower
  • Ideologia Subjacente À Novela Rebelde

    Ideologia Subjacente À Novela Rebelde

    UNIVERSIDADE DE BRASÍLIA FACULDADE DE EDUCAÇÃO EDUCAÇÃO E COMUNICAÇÃO DE MASSA: IDEOLOGIA SUBJACENTE À NOVELA REBELDE THAIS ANTONOFF DOS SANTOS Brasília 2014 THAIS ANTONOFF DOS SANTOS EDUCAÇÃO E COMUNICAÇÃO DE MASSA: IDEOLOGIA SUBJACENTE À NOVELA REBELDE Trabalho de conclusão do curso de Pedagogia apresentado à banca examinadora da Faculdade de Educação da Universidade de Brasília como requisito parcial à obtenção do título de Licenciada, sob orientação da professora doutora Maria Zélia Borba Rocha. Brasília 2014 i ii FICHA CATALOGRÁFICA Catalogação por Margarida Cavassin – CRB 9-998 M823p Santos, Thais Antonoff Educação e comunicação de massa: ideologia subjacente à novela Rebelde/Thais Antonoff dos Santos; orientadora, dra. Maria Zélia Borba Rocha. Brasília, 2014. xiii, 82 f. TCC (Pedagogia) – Faculdade de Educação da Universidade de Brasília, Brasília, 2014. 1. Pedagogia – monografias 2. Educação 3. Escola e Comunicação de Massa 4. Ideologia I. Universidade de Brasília – Faculdade de Educação II. Título CDD: 378 ___________________________________________________________________________ iii “Até quando, nós, professores, continuaremos temendo a indisciplina, desobrigando-os com isso da tarefa de enfrentá-la criativamente?” Laurizete Ferragut Passos (1996) iv DEDICATÓRIA “Aqueles que amamos nunca morrem, apenas partem antes de nós”. Ao meu pai, que morreu na esperança de estar comigo na finalização deste ciclo, dedico este trabalho e todos os outros que virão. v AGRADECIMENTOS Em primeiro lugar, à Deus, por ter-me dado saúde e força para superar as dificuldades e seguir a caminhada. À minha mãe, por ter dedicado a vida para a criação dos filhos. Espero que os frutos de todo o esforço e renúncias possam ser colhidos a partir de agora.