Corpo-empresa na industria do espectaculo

The Entertainment Industry (Debord, 1997) has been proved a useful tool for understanding the masse’s subjectivity connected by television within the contemporary world. Reality Show Psychologist since the beginning of this phenomenon in Brazil (2001), the author traces a singular equivalence of Deb...

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Autores:: Tabacof, Débora

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Fecha de publicación:: 2011

Institución:: Universidad de San Buenaventura

Repositorio:: Repositorio USB

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dc.title.spa.fl_str_mv	Corpo-empresa na industria do espectaculo
dc.title.alternative.spa.fl_str_mv	Body-company in the industry of the entertainment
dc.title.alternative.none.fl_str_mv	Cuerpo-empresa en la industria del espectáculo
title	Corpo-empresa na industria do espectaculo
spellingShingle	Corpo-empresa na industria do espectaculo Subjetividad Corpo Indústria do espetáculo Corpo-empresa Subjectivity Body Entertainment industry Company-body Psicología de los procesos sensoriales Televisión - Aspectos psicológicos
title_short	Corpo-empresa na industria do espectaculo
title_full	Corpo-empresa na industria do espectaculo
title_fullStr	Corpo-empresa na industria do espectaculo
title_full_unstemmed	Corpo-empresa na industria do espectaculo
title_sort	Corpo-empresa na industria do espectaculo
dc.creator.fl_str_mv	Tabacof, Débora
dc.contributor.author.none.fl_str_mv	Tabacof, Débora
dc.subject.spa.fl_str_mv	Subjetividad Corpo Indústria do espetáculo Corpo-empresa Subjectivity Body Entertainment industry Company-body
topic	Subjetividad Corpo Indústria do espetáculo Corpo-empresa Subjectivity Body Entertainment industry Company-body Psicología de los procesos sensoriales Televisión - Aspectos psicológicos
dc.subject.lemb.spa.fl_str_mv	Psicología de los procesos sensoriales Televisión - Aspectos psicológicos
description	The Entertainment Industry (Debord, 1997) has been proved a useful tool for understanding the masse’s subjectivity connected by television within the contemporary world. Reality Show Psychologist since the beginning of this phenomenon in Brazil (2001), the author traces a singular equivalence of Debord “concept sin social elms. She does that by listening to the participants recounting their own experiences. Those participants refer to their own Body as their Business. Reality Show is seen in this article as the “I” game. The participant acts according to what he/she imagines the public is expecting him/her to be. In the Brazilian culture the fit and beautiful body occupies a big role in the imaginary field, as a body/ object commodity within the “media market”, therefore having a definite monetary value. What is happening now is that this “body-commodity”, with the consent of their doctors, have the permission to use drugs in order to tame their feelings. Especially to stop violent behavior in a chemical and superficial way. The goal is to establish the “muscles” strengths of the company, encouraging performances even with the use of anabolic steroid. By treating oneself as an object, one forgets that there is also a living being who can suffer from side effects as well as with uncontrollable feelings!
publishDate	2011
dc.date.issued.none.fl_str_mv	2011-07
dc.date.accessioned.none.fl_str_mv	2017-11-13T15:27:30Z
dc.date.available.none.fl_str_mv	2017-11-13T15:27:30Z
dc.date.submitted.none.fl_str_mv	2017-11-10
dc.type.spa.fl_str_mv	Artículo de revista
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identifier_str_mv	1794-192X 2256-3202 (en línea)
url	http://hdl.handle.net/10819/5020
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dc.relation.ispartofseries.none.fl_str_mv	Revista Científica Guillermo de Ockham;Vol. 09, No 2. Julio-Diciembre 2011
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dc.rights.cc.spa.fl_str_mv	Atribución-NoComercial-SinDerivadas 2.5 Colombia
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rights_invalid_str_mv	Atribución-NoComercial-SinDerivadas 2.5 Colombia http://creativecommons.org/licenses/by-nc-nd/2.5/co/ http://purl.org/coar/access_right/c_abf2
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dc.format.extent.spa.fl_str_mv	103 - 107 páginas
dc.format.medium.spa.fl_str_mv	Recurso en linea
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dc.publisher.spa.fl_str_mv	Universidad de San Buenaventura - Cali
dc.publisher.faculty.spa.fl_str_mv	Documento USB
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dc.source.spa.fl_str_mv	Revista Científica Guillermo de Ockham
institution	Universidad de San Buenaventura
dc.source.bibliographicCitation.spa.fl_str_mv	– Bucci, E., y Khel, M. R. (2004). Videologias: ensaios sobre televisão. (1ª ed). São Paulo: Boitempo. – Debord, Guy. (1997). A sociedade do espetáculo. (1ª ed.). Rio de Janeiro: Contraponto. – Khel, M. R. (2009). O Tempo e o Cão: a atualidade das depressões. (1ª ed). São Paulo: Boitempo.
dc.source.instname.spa.fl_str_mv	Universidad de San Buenaventura - Cali
dc.source.other.spa.fl_str_mv	Cali, Hemeroteca 3er. piso
dc.source.reponame.spa.fl_str_mv	Biblioteca Digital Universidad de San Buenaventura
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spelling	Comunidad Científica y AcadémicaTabacof, Débora2c5bc584-5559-4092-a5ef-1debcfcd7b3a-12017-11-13T15:27:30Z2017-11-13T15:27:30Z2011-072017-11-10The Entertainment Industry (Debord, 1997) has been proved a useful tool for understanding the masse’s subjectivity connected by television within the contemporary world. Reality Show Psychologist since the beginning of this phenomenon in Brazil (2001), the author traces a singular equivalence of Debord “concept sin social elms. She does that by listening to the participants recounting their own experiences. Those participants refer to their own Body as their Business. Reality Show is seen in this article as the “I” game. The participant acts according to what he/she imagines the public is expecting him/her to be. In the Brazilian culture the fit and beautiful body occupies a big role in the imaginary field, as a body/ object commodity within the “media market”, therefore having a definite monetary value. What is happening now is that this “body-commodity”, with the consent of their doctors, have the permission to use drugs in order to tame their feelings. Especially to stop violent behavior in a chemical and superficial way. The goal is to establish the “muscles” strengths of the company, encouraging performances even with the use of anabolic steroid. By treating oneself as an object, one forgets that there is also a living being who can suffer from side effects as well as with uncontrollable feelings!A Indústria do Espetáculo, desde Debord (1997), vem se mostrando conceito útil para leitura da subjetividade das massas conectada pela televisão no mundo contemporâneo. Psicóloga de Realitys Shows desde o início desse fenômeno no Brasil (2001), a autora destaca o conceito, advindo da escuta dos participantes que chamam Meu Corpo de Minha Empresa, traçando uma equivalência no singular do que é pensado por Debord em termos sociais. Pensando o Reality Show como um grande jogo do EU, esse texto aborda o tema pelo viés do desejo de apresentar um ideal forjado pelo que se imagina ser o esperado pelo público. No contexto brasileiro o enfoque sobre o corpo malhado e perfeito é característica cultural local, onde o objeto-corpo toma a consistência final do EU, com um valor de mercado monetário definido. O que se verifica é que esse corpo/empresa, com a anuência de seus médicos, admite também a inclusão de drogas que servem para adestrartambém os afetos. O objetivo é tonificar a “musculatura” da empresa, conter quimicamente a violência, incentivar com anabolizantes a performance na academia, sem contemplar que para além do Corpo-Empresa há um sujeito. Sujeito afeito a efeitos colaterais e afetos descontrolados!Universidad de San Buenaventura - Calipdf103 - 107 páginasRecurso en lineaapplication/pdf1794-192X2256-3202 (en línea)http://hdl.handle.net/10819/5020otherUniversidad de San Buenaventura - CaliDocumento USBDocumentos USBCaliRevista Científica Guillermo de Ockham;Vol. 09, No 2. Julio-Diciembre 2011Atribución-NoComercial-SinDerivadas 2.5 ColombiaPor medio de este formato manifiesto mi voluntad de AUTORIZAR a la Universidad de San Buenaventura, Sede Bogotá, Seccionales Medellín, Cali y Cartagena, la difusión en texto completo de manera gratuita y por tiempo indefinido en la Biblioteca Digital Universidad de San Buenaventura, el documento académico-investigativo objeto de la presente autorización, con fines estrictamente educativos, científicos y culturales, en los términos establecidos en la Ley 23 de 1982, Ley 44 de 1993, Decisión Andina 351 de 1993, Decreto 460 de 1995 y demás normas generales sobre derechos de autor. Como autor manifiesto que el presente documento académico-investigativo es original y se realiza sin violar o usurpar derechos de autor de terceros, por lo tanto, la obra es de mi exclusiva autora y poseo la titularidad sobre la misma. La Universidad de San Buenaventura no será responsable de ninguna utilización indebida del documento por parte de terceros y será exclusivamente mi responsabilidad atender personalmente cualquier reclamación que pueda presentarse a la Universidad. Autorizo a la Biblioteca Digital de la Universidad de San Buenaventura convertir el documento al formato que el repositorio lo requiera (impreso, digital, electrónico o cualquier otro conocido o por conocer) o con fines de preservación digital. Esta autorización no implica renuncia a la facultad que tengo de publicar posteriormente la obra, en forma total o parcial, por lo cual podrá, dando aviso por escrito con no menos de un mes de antelación, solicitar que el documento deje de estar disponible para el público en la Biblioteca Digital de la Universidad de San Buenaventura, así mismo, cuando se requiera por razones legales y/o reglas del editor de una revista.http://creativecommons.org/licenses/by-nc-nd/2.5/co/http://purl.org/coar/access_right/c_abf2Revista Científica Guillermo de Ockham– Bucci, E., y Khel, M. R. (2004). Videologias: ensaios sobre televisão. (1ª ed). São Paulo: Boitempo. – Debord, Guy. (1997). A sociedade do espetáculo. (1ª ed.). Rio de Janeiro: Contraponto. – Khel, M. R. (2009). O Tempo e o Cão: a atualidade das depressões. (1ª ed). 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Corpo-empresa na industria do espectaculo

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