[{"data":1,"prerenderedAt":140},["ShallowReactive",2],{"article:multimodal-views-in-the-press-media-daspu-and-the-fashion-world":3},{"success":4,"article":5,"request":137},true,{"parent":6,"langs":7,"_id":10,"contributors":11,"typeData":24,"data":126,"slugs":135,"slug":136},"39f260d6-d61f-4dfe-b1f7-a6c315c260bd",[8,9],"primary","secondary","8d551552-f3a2-4a8c-9b84-42e8fa201619",[12,16,20],{"lastName":13,"name":14,"_id":15},"Pereira de Andrade","Ana Beatriz","0074adb6-f9ae-4e57-bbf1-d66a16b73f32",{"lastName":17,"name":18,"_id":19},"Oliveira","Paula Rebello Magalhães de","3d36302f-8209-486d-b603-c6c5e45ee256",{"lastName":21,"name":22,"_id":23},"Lenz","Flavio","56312f59-a826-4a24-9d6b-71adf52fbfac",{"startPage":25,"references":26,"endPage":123,"track":124,"has_file":4,"doi":125},6922,[27,30,33,36,39,42,45,48,51,54,57,60,63,66,69,72,75,78,81,84,87,90,93,96,99,102,105,108,111,114,117,120],{"label":28,"id":29},"\u003Cp>ACCIOLY, Ana (org.) \u003Cstrong>Marcas de Valor no Mercado Brasileiro\u003C/strong>. Rio de Janeiro: SENAC, 2000.\u003C/p>","25751905-6984-46d2-b4f0-0a6452bbbe41",{"id":31,"label":32},"132cc310-cc93-4644-8288-c278019c1f82","\u003Cp>BARTHES, Roland. \u003Cstrong>Elementos de Semiologia\u003C/strong>. São Paulo: Cultrix, 1964.\u003C/p>",{"id":34,"label":35},"7ddbb5e2-a2f0-49a8-b714-054262fdfc61","\u003Cp>BECKER. Howard S. \u003Cstrong>Outsiders\u003C/strong>. Studies in the sociology of deviance. New York: The Free Press, 1966.\u003C/p>",{"id":37,"label":38},"5f8a6e86-e670-4446-8ffe-1ca0c129f493","\u003Cp>BONFIM, Gustavo Amarante. \u003Cstrong>Idéias e Formas na História do Design\u003C/strong>: Uma Investigação Estética. João Pessoa: Editora Universitária - UFPB, 1998.\u003C/p>",{"label":40,"id":41},"\u003Cp>BORTOLANZA, Elaine. As passarelas passeatas da Daspu. \u003Cstrong>Eroticomia\u003C/strong> [blog], Disponível em: http://eroticomia.blogspot.com/2007/10/as-passarelas-passeatas-da-daspu.html. Acesso desde 29/10/2007.\u003C/p>","80beb2fe-a495-4da5-b979-12f2937d0d80",{"label":43,"id":44},"\u003Cp>CANCLINI, Néstor García. \u003Cstrong>Consumidores e Cidadãos\u003C/strong>: Conflitos Multiculturais da Globalização. Rio de Janeiro: Editora UFRJ, 2006.\u003C/p>","4ba7b711-e2ac-4bbc-a631-c686d24608cf",{"label":46,"id":47},"\u003Cp>CHAVES, Norberto. \u003Cstrong>El Diseño Invisible\u003C/strong> – Siete Lecciones sobre La Intervención Culta en el Hábitat Humano. Buenos Aires: Editorial Paidós, 2006.\u003C/p>","76c03606-c172-49b4-a13b-7133b648999a",{"label":49,"id":50},"\u003Cp>CRANMER, John e ZAPATERA, Yolanda. \u003Cstrong>Conscientious Objectives\u003C/strong>: Designing for an Ethical Message. Londres: Rotovision, 2003.\u003C/p>","0f8bfdea-828c-4ca7-a612-1f2e0389d4cd",{"label":52,"id":53},"\u003Cp>COELHO, Luiz Antonio L. (org.). \u003Cstrong>Design Método\u003C/strong>. Rio de Janeiro: PUC - Rio, 2006.\u003C/p>","5bda465b-92a6-4c93-8297-fdef1f12b5ab",{"label":55,"id":56},"\u003Cp>COSTA, Joan. \u003Cstrong>A imagem da marca\u003C/strong>. São Paulo: Rosari, 2006.\u003C/p>","af26a81b-5f30-4ac8-b3f1-bf1cbe054913",{"label":58,"id":59},"\u003Cp>DESPRET, Vinciane. \u003Cstrong>Ces émotions que nous fabriquent\u003C/strong>. Paris: Les Empêcheurs de Penser en Rond-Seuil, 2005.\u003C/p>","adc0d49a-f83f-4ae9-af39-b41f4a053afd",{"label":61,"id":62},"\u003Cp>FONTENELLE, Isleide Arruda. \u003Cstrong>O Nome da Marca\u003C/strong>: McDonald’s. Fetichismo e Cultura Descartável. São Paulo: Boitempo, 2002.\u003C/p>","300c4ae6-2341-4a87-a7d4-766a8f57c287",{"id":64,"label":65},"b273e0e9-060d-4283-9c02-97bd299b4b93","\u003Cp>FRASCARA, Jorge. \u003Cstrong>Diseño Gráfico para la Gente\u003C/strong>. Comunicaciones de Massa y Cambio Social. Buenos Aires: Ediciones Infinito y el Autor, 1997.\u003C/p>",{"label":67,"id":68},"\u003Cp>GLASER, Milton. \u003Cstrong>Art is Work\u003C/strong>. NY: Overlook Press, 2000.\u003C/p>","a3511879-4599-4089-a0ff-a4cb5075a955",{"label":70,"id":71},"\u003Cp>____________. e ILIC, Mirko. \u003Cstrong>The Design of Dissent\u003C/strong>. Massachusetts, USA: Rockport,2005.\u003C/p>","34084274-dc81-418d-a7e5-7c96d39d7fa6",{"id":73,"label":74},"2f7f42d5-5730-4399-8eab-9d83ff6e8de8","\u003Cp>GREEN, Christopher. \u003Cstrong>Classics in the history of psychology\u003C/strong>. UK: York University, 1998.\u003C/p>",{"label":76,"id":77},"\u003Cp>HALL, Stuart. The work of representation. in: HALL, Stuart: \u003Cstrong>Representation\u003C/strong>: Cultural Representations and Signifying Practices. London: Open University, 1997\u003C/p>","f39a0db5-5d47-4ad5-85e5-053582426576",{"label":79,"id":80},"\u003Cp>HELLER, Steven e VIENNE, Véronique. \u003Cstrong>Citizen Designer\u003C/strong>. Perspectives on Design Responsibility. New York: Allworth Press, 2007.\u003C/p>","baaf97fe-a3ab-4bb0-9773-80d27ce45c17",{"label":82,"id":83},"\u003Cp>KLEIN, Naomi. \u003Cstrong>Sem logo\u003C/strong>: a tirania das marcas em um planeta vendido. Rio de Janeiro: Record, 2002.\u003C/p>","201138c7-06a2-438f-bb96-3f3370ad6509",{"label":85,"id":86},"\u003Cp>KRESS, Günther and VAN LEEUWEN, Theo. \u003Cstrong>Reading Images\u003C/strong>. New York: Routledge, 1996.\u003C/p>","c7b74f12-24ce-468e-afe4-484420f42344",{"id":88,"label":89},"82311825-4617-4d51-b4b3-6afe9de3a7e3","\u003Cp>LATOUR, Bruno. \u003Cstrong>Jamais fomos modernos\u003C/strong>. Rio de Janeiro: Ed. 34.\u003C/p>",{"label":91,"id":92},"\u003Cp>_____________ \u003Cstrong>A ciência em ação\u003C/strong>. Como seguir cientistas e engenheiros sociedade afora. São Paulo: Editora da Universidade Estadual Paulista.\u003C/p>","28e37bdc-c57a-47c8-9e1f-a8bea724d96f",{"label":94,"id":95},"\u003Cp>____________ e HERMANT, Emillie. \u003Cstrong>Paris ville invisible\u003C/strong>. Paris: Institut Synthélabo, 1998.\u003C/p>","6e14afaa-5172-4456-b1af-befd15a0102a",{"label":97,"id":98},"\u003Cp>____________. \u003Cstrong>Changer de societé – Refaire de la sociologie\u003C/strong>. Paris: Éditions de La Découverte, 2000.\u003C/p>","e0e6af62-712e-403e-a6bf-a346e1e2d646",{"id":100,"label":101},"dfc925ea-7336-4e5e-871e-aa9cc5ae4a16","\u003Cp>LAW, John e URRY, John. \u003Cstrong>Enacting the social\u003C/strong>. UK: Department of Sociology/ Lancaster University, 2002.\u003C/p>",{"label":103,"id":104},"\u003Cp>LEITE, Gabriela. \u003Cstrong>Filha Mãe Avó e Puta\u003C/strong>. A História de uma Mulher que Decidiu ser Prostituta. Rio de Janeiro: Objetiva, 2009.\u003C/p>","f90aafba-276f-4cd0-ad2c-a853ba92482e",{"id":106,"label":107},"785b9aa9-b4d6-43ae-9396-5897c923e812","\u003Cp>LENZ, Flavio. \u003Cstrong>DASPU\u003C/strong>: A Moda sem Vergonha. Rio de Janeiro: Aeroplano, 2008.\u003C/p>",{"label":109,"id":110},"\u003Cp>LIPOVETSKY, Gilles. \u003Cstrong>O Império do Efêmero\u003C/strong>. São Paulo: Cia das Letras, 1989.\u003C/p>","d3388e1f-c6eb-42df-9ec0-34fab32f0eab",{"id":112,"label":113},"20621734-72d7-4cf9-9c4f-4d52a981c47c","\u003Cp>NOCHLIN, Linda. \u003Cstrong>Representing Women\u003C/strong>. Londres: Thames and Hudson, 1999.\u003C/p>",{"label":115,"id":116},"\u003Cp>ROLNIK, Suely. \u003Cstrong>Cartografia Sentimental – Transformações Contemporâneas do Desejo\u003C/strong>. SP: Estação Liberdade, 1989.\u003C/p>","76c56f19-8689-463f-bc54-b6837dde00b4",{"label":118,"id":119},"\u003Cp>SOUZA, Fernanda Mayer dos Santos. \u003Cstrong>Estágios de evolução da marca Garoto\u003C/strong>. Espírito Santo: UFES, 2006.\u003C/p>","3556e098-83fe-4b7f-ae60-88ddf88ae7fc",{"label":121,"id":122},"\u003Cp>SPINK, Mary Jane. \u003Cstrong>Práticas discursivas e produção de sentidos no cotidiano\u003C/strong>: aproximações teóricas e metodológicas. São Paulo: Cortez, 2000.\u003C/p>","75cf4e0e-4850-4123-ba2a-61f99db55258",6933,"qhlz5jbf","",{"primary":127,"secondary":131},{"keywords":128,"excerpt":129,"title":130},"\u003Cp>Design de Contestação, Discurso Multimodal, Gênero\u003C/p>","Trata-se de apresentar um recorte na abordagem midiática acerca de DASPU publicada em jornais impressos. Projeto auto-sustentável da ONG Davida, a grife propõe visibilidade à questões de Direitos Humanos, Civis e Sociais e da regulamentação profissional da prostituta. Desde seu surgimento, o bom humor, duplo sentido, originalidade e coragem DASPU despertam grande interesse da mídia nacional e internacional. Em diversos momentos, o design de contestação DASPU ocupa o mesmo espaço destinado ao tradicional mundo da moda. A partir de três exemplos, será utilizado o discurso multimodal como ferramenta para análise e reflexão.","Abordagens Multimodais na Mídia Impressa: Daspu e o Mundo da Moda",{"keywords":132,"excerpt":133,"title":134},"\u003Cp>Design of Dissent, Multimodal Discourse, Gender\u003C/p>","This article presents one of the aspects in the media view about DASPU, since as published on the press. As a sustainable project, inside the NOG Davida, DASPU purposes visibility in some questions. Civil, Social and Human Rights, register of sex professionals are examples. Since it’s founded, using good humor, double sense in messages, originality and courage, DASPU has been well accepted by the media. The Design of Dissent DASPU occupied the same space designated to the recognizable Fashion World. Three examples are going to show how Multimodal Discourse can be useful as an instrument for analysis and reflection.","Multimodal Views in the Press Media – Daspu and the Fashion World",[136],"multimodal-views-in-the-press-media-daspu-and-the-fashion-world",{"target":138,"query":139},"articles/get",{"slug":136},1780316006157]