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Séguy, François. "Le sens et l'origine du vocabulaire technique en photographie dans les ouvrages techniques de langue française traitant de photographie, publiés entre 1840 et 1922." Toulouse 2, 1998. http://www.theses.fr/1998TOU20034.
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La thèse se fixe pour buts la création originale d'un dictionnaire sémantique du vocabulaire technique français extrait des ouvrages les plus significatifs de photographie de la période étudiée. La première partie est un rappel des informations indispensables au positionnement de la photographie dans son époque : son histoire, son évolution jusqu'en 1922, la part qu'elle prend dans les industries graphiques et photomécaniques, son apport aux sciences, aux arts et à la communication. Une part est faite à la physique du XIXe, à la connaissance de la lumière et de la couleur. L'analyse traite des emprunts ou apports faits à la grammaire et aux discours d'autres techniques et pratiques professionnelles. La seconde partie composée de 5992 articles, est le dictionnaire expliquant tes expressions, mots ou termes présents dans les ouvrages analysés. Le principe est de bien détailler ce qui, dans un discours professionnel en train de s'élaborer, fait sens pour sa communication particulière. Seul l'extrait contextuel reste la préoccupation majeure de l'étude de l'article, d'où la présence obligatoire de la citation et de la source bibliographique datée. Dans tous les cas, le mot utilisé dans l'appel alphabétique est présent, dans les discours communs ou qu'il soit propre au discours photographique. La rédaction des articles se donne pour principes d'observer, de définir ou de fixer : - les mots ou ensembles de mots du vocabulaire technique et les créations terminologiques nouvelles qui font sens comme indicateurs particuliers, parfois dans une polysémie originale ; - l'origine culturelle ou technique, l'invention ou le détournement des mots ou ensembles de mots du vocabulaire technique ; - l'utilisation des souches nouvelles et la formation de nouveaux groupes terminologiques ; - l'apparition, l'évolution, la fixation ou la disparition des mots ou ensembles de mots de la terminologie photographiqueThe aim of this thesis is to compile the first French semantic dictionary of the technical vocabulary of photography, based on the most significant works published during that period. The first part of the thesis is a recapitulation of all information necessary to assess the position of photography at the time: its history, its evolution up to 1922, its function in the graphic and photomechanical industry, its contribution to science, art and communication. A section is devoted to the 19th-century knowledge of physics, optics and chromatics. The analysis examines how this vocabulary borrowed from and contributed to the grammar and language of other techniques and professions. The second part, comprising 5,992 entries, is the actual dictionary, in which are defined all expressions, words and terms used in the publications. Our aim has been to characterize in detail all words and expressions beginning to assume a specific meaning in an evolving professional vocabulary. As the entries are essentially studied in their context, the complete quotes and their dated sources are included. In each case, the word in the references, given in the alphabetical order, was used in the common language or in a specifically photographic sense. The entries have been composed with the objective of observing, defining or establishing - the words or groups of words in the technical vocabulary and the newly created terminology which have assumed a specific meaning, sometimes in an originally polysemic situation; - the technical or cultural origin of the words or groups of words in the technical vocabulary, the way they were invented or devised through a twisting of the sense; - the use of new roots and the formation of new terminological groups; - the emergence, evolution, establishing or disappearance of words or groups of words in the terminology of photography
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Gibert, Bertrand. "Nature morte et publicité : la photographie publicitaire d'objets seuls en France : 1980-1990." Bordeaux 3, 1993. http://www.theses.fr/1993BOR30036.
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La these porte sur les representaitions d'objets inanimes dans la photographie publicitaire de presse des annees 80 en france, en relation avec la nature morte picturale classique. Elle commence par un examen du genre pictural, sa definition, ses contenus manifestes et symboliques, les valeurs sociales qu'il manifeste et vehicule. La deuxieme partie est une etude des relations entre images - dans la sphere publicitaire et au-dela -, le croisement des genres et les modalites d'emprunts aux images anterieures. Enfin une analyse d'images significatives ouvre des directions de recherche sur la representation de l'objet, le jeu des allusions et l'affleurement des symbolismes anciens, - jusqu'a la reactivation des figures traditionnelles de la nature morte : la tentation des sens et la vanite des biens de ce mondeThis thesis is an approach of representations of inanimate objects in advertising pictures in the french press of the 'nineteen-eighties, in relation to classical still life. The first part deals with selection and symbolism of objects and their internal lay out in traditionnal oil painting. The second part, which includes figures and diagramm, focuses on inter-relationships between images within the sphere of publicity and beyond. The aim of the final section of this study is to point out references to past representations and highlight what objects epitomize, through analyses of a selection of significant publicity images
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Romedenne, Jean. "Nouvelles techniques iconiques et publicité." Paris 7, 1995. http://www.theses.fr/1995PA070027.
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Les nouvelles techniques iconiques presentent un polymorphisme techno-esthetique, un eclectisme stylistique, une thematique boulimique, une plurifonctionnalite, et consacrent l'avenement du coblage et de l'interactiviteNew iconic technics present techno-esthetic polymorphism, stylistic diversity; bulimic thematics, multi-functionality, and reveal new precision and interactivity
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Boutella, Safia. "Regard algérien : histoire d'une culture visuelle : approche médiologique et sémiologique de la photo de presse." Bordeaux 3, 2000. http://www.theses.fr/2000BOR30039.
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Le debat sur l'image est souvent aborde par l'histoire occidentale. Les differentes analyses attribuent a l'ensemble des societes, l'experience occidentale en ignorant les conditions d'inscription du medium- image dans les differentes cultures. Notre recherche s'articule autour d'une eventuelle histoire de l'image, dans une societe autre qu'occidentale, telle que la societe algerienne. La production visuelle y a ete longtemps soumise a des restrictions religieuses (l'heritage iconoclaste) et a une manipulation politique. Notre problematique insiste sur l'idee d'une histoire d'image propre a la culture algerienne, parce qu'une situation de restriction et d'interdit entraine necessairement une recomposition de la sphere sociale avec une production d'images typiques. Deux affirmations sont al'origine de cette recherche. La premiere concerne l'effet du mouvement iconoclaste sur la production visuelle dans la culture algerienne. L'heritage religieux, interdisant toute representation humaine, s'est attenue dans le temps, mais sans pour autant disparaitre definitivement. La deuxieme affirmation porte sur la discontinuite historique de l'image fixe. Par discontinuite historique, nous entendons que l'histoire de l'image n'est pas universelle. Le medium- image a une histoire qui differe d'une culture a une autre et d'une epoque : a une autre. La discontinuite historique de l'image peut-etre definie comme une histoire visuelle propre a chaque culture. Nous observons comment la religion, le parti unique et la crise socio- politique contribuent, chacun de son cote, a l'evolution historique de l'image, dans la societe algerienne. Comment sontils devenus des intermediaires et des intercesseurs dans le processus de production visuelle. Quelles sont donc, les caracteristiques de l'image produite actuellement? favorise-t-elle un apprentissage du langage visuel dans une societe verbale? enfin, que devient actuellement, le mouvement iconoclaste traditionnel? l'hypothese d'une histoire visuelle propre a chaque culture est verifiee par une analyse semiologique d'images locales telles que les photos de presse algerienne des deux dernieres decennies. Au-dela du sens vehicule, l'etude s'etend au role social de l'image en tant que support technique de communication. Ainsi, notre recherche fait appel a la mediologie pour analyser les fonction sociales du medium- image, dans leurs rap
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Le, Maître Barbara. "L'ensemble visuel et l'idée de manque : un essai sur la relation entre film et photo." Paris 3, 1999. http://www.theses.fr/1999PA030108.
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Quelquefois, les images filmiques et photographiques confluent, puis s'imbriquent pour former des representations composites. L'ensemble visuel est le nom que je leur donne. Comment s'effectue la rencontre entre ces images ? que produit leur confrontation ? comment comprendre leur relation ? je note d'abord ceci, que la confluence opere entre des images qui sont aussi bien des empreintes. Je noteencore que l'ensemble visuel s'offre comme une representation fracturee, litteralement ecartelee entre film et photo. De la que cet ensemble fonde deux problemes theoriques, dont le premier engage la comprehension de l'image-empreinte, et le second, celle de l'agencement entre les differents morceaux du tissu representatif. Il se trouve que la pensee freudienne place l'empreinte au coeur de la mecanique du desir et suggere un modele pour comprendre la maniere selon laquelle une simple trace se fait image. A partir des reflexions de freud, j'ai tente de montrer que les empreintes filmiques et photographiques ne constituent pas uniquement des objets visuels, mais encore de veritables instruments d'un travail psychique. Autrement dit, il y a un rapport tout a fait privilegie entre l'empreinte et le desir, entre le travail de l'image et le manque, rapport qu'il s'agit d'expliciter. Les analyses d'oeuvres de robert frank, de chris marker, d'agnes varda, de johan van der keuken, d'autres encore, sont autant d'occasions d'examiner les differentes manieres selon lesquelles l'image exhibe quelque chose du desir, quelque chose qui trouve la, non seulement a s'organiser visuellement, mais encore a s'accomplir.
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Muller, Catherine. "Paroles sur images : Les interactions orales déclenchées par des photographies d'auteur en classe de français, langue étrangère." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030107.
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Cette étude relève de la didactique des langues, mais elle s’appuie également sur l’analyse des interactions verbales et des interactions en classe de langue, ainsi que sur l’anthropologie et la sociologie. Elle repose sur la capacité de l’image à susciter des productions verbales. La photographie d’auteur est ici considérée comme un déclencheur d’interactions orales permettant de communiquer en classe de langue. Nous avons mis en oeuvre une technique didactique dans descours de français enseigné comme langue étrangère en contexte pluriculturel à Paris avec des apprenants de niveaux A1 à B2. Le projet mené en groupe consiste à commenter des photographies d’auteur sans objectifs langagiers prédéterminés. Nous n’avons pas cherché à transmettre des informations concernant les images, volontairement énigmatiques. La question de recherche porte sur la nature des échanges verbaux déclenchés. L’analyse des données dans la partie 2 révèle l’importance de la communication entre les apprenants. Ceux-ci déploient des stratégies de communication et d’appropriation. L’interaction fortement coopérative encourage un apprentissage mutuel entre pairs avec des phénomènes d’étayage collectif. Dans la partie 3, nous analysons les manifestations verbales de la réception des photographies. L’observation des images donne lieu à de la description et de la narration, à la recherche de solutions ou de messages, à des réactions esthétiques, interprétatives, ou encore à des phénomènes d’immersion fictionnelle. Les apprenants mettent en relation les photographies avec d’autres images, ce qui révèle l’importance de l’intericonicité dans la perception visuelle et favorise des échanges interculturelsThe study lies in the field of foreign language education, but it also refers to verbal interaction analysis, foreign language classroom research, anthropology, and sociology. It rests onthe capacity of visual images to trigger verbal expression. Photography is here considered as ameans to induce oral interaction, thus enabling students to communicate in language courses. Wehave implemented a task in lessons of French taught as a foreign language in a pluricultural contextin Paris, learners’ levels ranging from A1 to B2. In this group project, students were invited tocomment on fine art and documentary photographs. We had no predetermined language objectivesand we did not seek to pass on information about the images, which were intentionally enigmatic.Our research question deals with the nature of the verbal interactions triggered by the photographs.In part 2, the analysis of the corpus highlights how learners interact. They implement strategies to communicate and to learn. The interactions are highly cooperative, which encourages students tolearn from their peers by using collective scaffolding. In part 3, we analyse the verbal reactions of the students when they comment on the photographs. These learners describe the images, they buildnarratives, they seek solutions, messages or interpretations, they evaluate the pictures esthetically,and they immerse themselves in the fiction of the photographs. They also find analogies with other images, which reveals the importance of intericonicity in visual perception and encourages learners to engage into intercultural exchanges
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Hilles, Juhayna. "Le langage visuel de Gyorgy Kepes, une éducation de l’œil (1937-1973)." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL114.
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Cette étude porte sur la théorie du langage visuel de Gyorgy Kepes. Peintre, photographe, designer, pédagogue, ainsi que théoricien de l’art, l’œuvre complexe de cet artiste transcende les frontières des médiums plastiques. Né en 1906 à Selyp en Hongrie, il étudie la peinture à l’Académie Royale des Beaux-Arts de Budapest sous la direction du peintre impressionniste István Csók. Politiquement engagé depuis sa jeunesse, il rejoint le cercle Munka de Lajos Kassák, quitte la Hongrie en 1930 pour rejoindre László Moholy-Nagy à Berlin, puis à Londres, avant de s’installer définitivement aux États-Unis. Cet artiste qui n’a jamais étudié ou enseigné à l’école du Bauhaus en Allemagne, devient l’une des figures principales de l’école du New Bauhaus à Chicago. En 1946, il intègre l’institut de technologie du Massachussetts ou MIT comme Professeur en design visuel à l’école d’architecture. La fondation du Center for Advanced Visual Studies ou CAVS en 1967, marque le début de nouvelles orientations civiques et environnementales dans son travail. Cherchant à réconcilier l’art et la technologie, il défend le rôle sociopolitique de l’art. L’objectif de cette thèse est de porter un regard analytique sur le développement de la théorie du langage visuel chez Gyorgy Kepes, en examinant ses applications et ses adaptations tout au long de sa carrière (1937-1973). Les diverses confrontations avec le monde militaire, scientifique et technologique seront analysées à travers trois axes d’analyse, proposant ainsi une lecture compréhensive de la théorie du langage visuelThis study examines the theory of visual language of Gyorgy Kepes. Painter, photographer, designer, pedagogue, and an art theorist, his complex work transcends the frontiers between plastic mediums. Born in 1906 in Selyp in Hungary, he studied painting at the Royal Academy of Fine Arts of Budapest, under the tutelage of the impressionist painter István Csók. Politically engaged since his early youth, he joins the Munka circle of Lajos Kassák, and leaves Hungary in 1930 in order to join László Moholy-Nagy in Berlin, and then in London, before moving permanently to the United States of America. In 1946 he is appointed Professor of visual design at the School of Architecture and Urban Planning of Massachusetts Institute of Technology, his establishing of the Center for Advanced Visual Studies, mark the beginning of new civic and environmental orientations in his work. Looking to reconcile art and technology, he defends the sociopolitical role of art. The aim of the thesis is to analyze the development of the theory of visual language, examining its applications and adaptations along Kepes’ career (1937-1973). The confrontations between art and the military, scientific, and technological world will be examined through three principal axes, offering a comprehensive reading of the theory of visual language
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Marini, Alexandra. "De la camera oscura à la "caméra visible" : éloge du plan-séquence dans l'oeuvre de Sam Szafran." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040096.
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En choisissant d’aborder l’œuvre de Sam Szafran par le biais du cinéma et de la photographie, cette thèse a une double visée : - D’une part, démontrer le principe séquentiel qui domine son œuvre. Szafran, qui a appris à voir au cinéma, ne se répète pas, mais crée des images arrêtées d’une séquence globale; et la photographie, de par sa contingence et sa fragmentation, constitue à cette fin un outil essentiel. - D’autre part, il s’agira d’aborder la question du montage tant du point de vue technique, rappelons que l’artiste est célébré comme le virtuose du pastel à travers le monde, que du point de vue cinématographique. Nous établirons que Szafran — homme de cinéma — emprunte la structure d’un plan-séquence pour composer ses images afin de poser le problème du regard, ou, pour le dire autrement, de rendre la caméra « visible ». Ainsi, en exposant Sam Szafran à ses influences clés, notre étude — qui constitue le premier travail de recherche universitaire approfondi sur l’artiste — entend multiplier les analyses autour des processus réflexifs et méthodologiques du travail du peintre. A partir de sources inédites, convoquant tour à tour l’histoire du siècle et la vie intime de l’artiste, elle ambitionne de jeter un jour nouveau sur ce que l’on considère comme « l’une des œuvres les plus secrètes et les plus poétiques de ce temps » (Jean Clair). Enfin, deux volumes d’annexes complèteront cette réflexion par un large corpus d’œuvres et de documents d’archivesBy exploring Sam Szafran’s work through film and photography, the aim of this thesis is twofold: - To highlight the largely sequential nature of his work: Szafran, who learnt to ‘see’ through the cinema, does not repeatedly create the same images - he creates ‘freeze frames’ in a global sequence; and photography, which by its nature is incidental and fragmentary, is an essential tool for achieving this. - To examine the notion of editing: from both the technical - Szafran is of course world famous for his virtuosic pastels - and cinematographic points of view. We will demonstrate that his images resemble sequence shots, as employed in the modern era by Orson Welles, in order to examine how things are seen, or, in other words, to make one aware of the camera’s presence. Hence, by highlighting Sam Szafran’s key influences, our study - which is the first in-depth university study of the artist - aims to analyse every aspect of the painter’s methodological and reflexive approach to his work. Based on completely new sources, relating to both the history of the 20th century and the artist’s personal life, the study’s main aim is to shed new light on the artist’s oeuvre, which is considered to be ‘one of the most mysterious and poetic of our time’ (Jean Clair). This study will be complemented by two volumes of annexes, comprising a large corpus of works and archive documents
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Oliveira, Tatiana Pontes de. "Caminhar, fotografar, fabular: entre a cidade e a fotografia." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20214.
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This research addresses the relationship between photography and the city, having as its object of study the contemporary photography produced by walking in the city. The starting point of the research is the question "How does the interaction between the city and the photography happen, considering walking as the procedure used by photographers as a strategy to establish communication with the city?". The main assumptions raised by this question are as follows: a) for having both documentary and fictional features, the photography is an ambivalent means of communication; b) The city is also characterized by ambivalence for being an environment in which interactive experiences and habits are governed by mediative order programs; c) The interaction between the ambivalences of the photographic language and the city enhances the creation of images that make visible the processes of the city and the photographer's imaginary affected by it. In order to verify the hypotheses present in this research, an extensive literature review was carried out to support the empirical analysis of the connections between the city, image and communication, as well as the nature of the photographic language and its ambivalence characterized by documentary and fictional traits. The theoretical foundation follows the goal in each chapter, therefore, in Chapter 01, the image is studied out of a network that connects three authors: Warburg, Benjamin and Flusser. The study of the image concept aims to support the following chapters, in which the relationship between photography and the city is addressed. In Chapter 02, the theoretical foundation links concepts for thinking on the city and its communicative mediative and interactive processes, as well as its dimensions of technosphere and psychosphere, as proposed respectively, by Ferrara and Santos. There is also an investigation on the ambivalence and the specificities of the photographic language taking into account the connections among works by Barthes, Dubois, Kossoy, Soulages and Fontcuberta. Finally, Chapter 03 analyzes the procedure of walking, used by photographers as a poetic strategy to put themselves in touch with the city and seize its manifestations. Having as object of study the photographic works by Daniel Ducci, Felipe Russo, Fernando Cohen and Wesley Barba, the focus of analysis is on how photographers "fable" about the city by creating new possibilities for understanding its impositions and spontaneity proposals, considering the experience of photographing and “fabling” as gestures of resistance
Esta pesquisa trata das relações entre a fotografia e a cidade, tendo como objeto de estudo a fotografia contemporânea produzida pelo caminhar na cidade. O ponto de partida da pesquisa é a pergunta “Como se dá a interação entre a cidade e a fotografia, tendo em vista o caminhar como procedimento usado pelos fotógrafos como estratégia para se colocarem em comunicação com a cidade?”. As principais hipóteses levantadas por essa questão se constituem do seguinte modo: a) Por ter simultaneamente um caráter documental e ficcional, a fotografia é meio comunicativo ambivalente; b) A cidade também se caracteriza pela ambivalência por ser um ambiente onde se processam vivências interativas e hábitos regidos por programas de ordem mediativa; c) A interação entre as ambivalências da linguagem fotográfica e as da cidade potencializa a criação de imagens que tornam visíveis os processos da cidade e o imaginário do fotógrafo afetado por ela. A fim de verificar as hipóteses da pesquisa, realizou-se ampla revisão bibliográfica para fundamentar a análise empírica das relações entre cidade, imagem e comunicação, além da natureza da linguagem fotográfica e sua ambivalência caracterizada por traços documentais e ficcionais. A fundamentação teórica acompanha o objetivo de cada capítulo, de modo que, no capítulo 01, a Imagem é estudada a partir de uma rede que conecta três autores: Warburg, Benjamin e Flusser. O estudo do conceito de imagem tem por objetivo fundamentar os capítulos seguintes, nos quais é tratada a relação entre a fotografia e a cidade. No capítulo 02 a fundamentação teórica relaciona conceitos para pensar a cidade e seus processos comunicativos mediativos e interativos, e suas dimensões de tecnosfera e psicosfera, como proposto, respectivamente, por Ferrara e Santos. Há também uma investigação sobre a ambivalência e as especificidades da linguagem fotográfica considerando as relações entre as obras de Barthes, Dubois, Kossoy, Soulages e Fontcuberta. Por fim, o capítulo 03 analisa o procedimento de caminhar, usado pelos fotógrafos como estratégia poética para se colocar em contato com a cidade e apreender suas manifestações. Tendo como objeto de estudo os trabalhos fotográficos de Daniel Ducci, Felipe Russo, Fernando Cohen e Weslei Barba, o foco de análise se colocou sobre o modo como os fotógrafos fabulam sobre a cidade criando novas possibilidades de entendimento das imposições e espontaneidades propostas por ela, considerando as experiências de fotografar e fabular como gestos de resistência
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Wilder, Kelley E. "Ingenuity, wonder and profit : language and the invention of photography." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397138.
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SOBRAL, JOAO EDUARDO CHAGAS. "THE PHOTOGRAPHIC LANGUAGE IN THE DESIGNER TRAINING IN AN ENVIRONMENT OF TECHNOLOGICAL CONVERGENCE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21687@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta tese parte da premissa que os ambientes de convergência, construídos a partir da tecnologia digital, estão afetando a disciplina de fotografia nos cursos de Design e, por conseqüência, interferindo nos processos de aprendizagem e na formação do designer. Esta investigação visa compreender o que os professores entendem por disciplina de fotografia, e, apropriando-se das novas tecnologias, que estratégias eles usam para disseminar o conhecimento entre os alunos. A pesquisa iniciou com uma pequena digressão sobre a fotografia na contemporaneidade e sobre a linguagem fotográfica, além de um levantamento sobre a disciplina de fotografia nos cursos de Design da PUC- Rio e da Univille, analisando as matrizes curriculares, ementas e percursos metodológicos. Foram também realizadas entrevistas com os professores que ministram esta disciplina, com o objetivo de colher e categorizar dados, os quais foram submetidos à técnica Análise do Conteúdo sob o enfoque dos lugares da imagem, contribuindo com a percepção sobre o papel que a fotografia desempenha em um diferente cenário tecnológico e na formação do designer nos cursos de Design da PUC- Rio e da Univille.
This thesis assumes that the environments of convergence, constructed from digital technology, are affecting the discipline of Photography courses in design and consequently interfering in the processes of learning and training of the designer. This research aims to understand what teachers mean by the discipline of Photography, and appropriating the new technologies, what strategies they use to disseminate knowledge among students. The research began with a small digression on contemporary photography and the photographic language, and a survey of the discipline of Photography in the courses of Design at PUC-Rio and Univille analyzing the curricular content, menus and methodological tracks. We also conducted interviews with teachers who teach this course in order to collect and categorize data, which were submitted to the content analysis technique from the standpoint of image sites, contributing to the perception of the role that photography plays in a different technological scenery and in the designer training in the courses of Design at PUC-Rio and Univille.
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Dwyer, Edward J. "Cover Photographs for Reading Journals." Digital Commons @ East Tennessee State University, 1995. https://dc.etsu.edu/etsu-works/3318.
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Richards, Sharolyn. "Modernizing Composition with an Online Photography-Themed Course." DigitalCommons@USU, 2018. https://digitalcommons.usu.edu/etd/7049.
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In this thesis, I argue that it is important for students in a Freshman English Composition class to learn to compose with images and text. This builds on what other research and professors have done in having students turn in multimedia compositions. Since there is opportunity for students to compose with images and text in print as well as online, it is important for them to know how images and text work together. This thesis includes the research I did and lesson modules for an example semester.
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Oliveira, Tatiana Pontes de. "A fotografia entre meios comunicativos." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4336.
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Previous issue date: 2011-10-10Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The epistemological scope of this research is to investigate the supports of analogical photography and digital photography as communicative means. Based on the definition of communicative means composed of the materiality of language-producing signs by Lucrécia Ferrara, aspects that distinguish both supports have been identified and analyzed: discrete materialities of photographic images, different environments to process images (laboratory for analogical process and software for digital process), the relation of the photographer with production time, and how these aspects influence the creation process of the photographer and consequently make different communicative means appear. The research corpus or its empirical object is defined by comparison between works performed by three Brazilian photographers who use the two communicative means: Antonio Saggese, Cássio Vasconcelos and Cristiano Mascaro. The methodological strategy aims at analyzing and comparing the creation process of the chosen photographers in order to map the production course of their works and their choices for the use of each photographic means so as to verify the hypothesis for this research, which proposes discrete materialities, production environments and production time as determining elements for the photographer s stream of thoughts and for definition of discrete visualities. For that, the concept of creation network by Cecília Salles and that of bifurcations by Ilya Prigogine have been used. The work by Vilém Flusser has been fundamental for the development of this research, the idea to be highlighted being that of non-thing (information) to refer to technical images that have lost their bodiliness, and the definition of camera as a programmed apparatus for the analysis of the photographer s relation with the camera. Other thinkers of photographic images have been studied for the development of this research: Arlindo Machado, Boris Kossoy, Philippe Dubois, Walter Benjamin when they consider the photographic act photographer s role as an agent who transfigures the world and the relation of photography with reality. As far as specificities of images in the panorama of contemporaneous transformations, the references are the authors Edmond Couchot and François Soulages. This study made possible the understanding that contemporaneous photography lies in metalanguage from experimentation, which clearly places photography between the two communicative means: analogical and digital
Esta pesquisa tem como objeto epistemológico a investigação dos suportes da fotografia analógica e da fotografia digital enquanto meios comunicativos. Tendo em vista a definição de meios comunicativos constituídos pela materialidade dos signos produtores de linguagem de Lucrécia Ferrara, buscou-se identificar e analisar os aspectos que distinguem os dois suportes: as distintas materialidades da imagem fotográfica, os diferentes ambientes para processamento da imagem (laboratório para processo analógico e softwares para processo digital), a relação do fotógrafo com o tempo da produção, e como estes aspectos influenciam o processo de criação do fotógrafo e em decorrência fazem surgir diferentes meios comunicativos. O corpus da pesquisa, ou seu objeto empírico, se define pela comparação entre os trabalhos de três fotógrafos brasileiros, Antonio Saggese, Cássio Vasconcellos e Cristiano Mascaro, que utilizam os dois meios comunicativos. A estratégia metodológica visou analisar e comparar o processo de criação dos fotógrafos selecionados, a fim de mapear o percurso da produção de seus trabalhos, e suas escolhas pelo uso de cada meio fotográfico, a fim de se verificar as hipóteses da pesquisa, que propõe as distintas materialidades, os ambientes de produção e o tempo da produção como elementos determinantes do fluxo do pensamento do fotógrafo e da definição de distintas visualidades. Utilizou-se, para tanto, o conceito de rede de criação de Cecília Salles e de bifurcações de Ilya Prigogine. A obra de Vilém Flusser foi fundamental para o desenvolvimento desta pesquisa, destacando-se a idéia de não-coisa (informação) para tratar das imagens técnicas que perderam sua corporeidade, e a definição de câmera fotográfica como aparelho programado para análise da relação do fotógrafo com a câmera fotográfica. Outros pensadores da imagem fotográfica foram estudados para o desenvolvimento desta pesquisa: Arlindo Machado, Boris Kossoy, Philippe Dubois, Walter Benjamin, quando consideram o ato fotográfico, o papel do fotógrafo como agente que transfigura o mundo e a relação da fotografia com o real. Sobre as especificidades da imagem no panorama das transformações contemporâneas, são referências os autores Edmond Couchot, François Soulages. Esse estudo possibilitou o entendimento de que a fotografia contemporânea se debruça sobre a metalinguagem, a partir da experimentação, o que coloca a fotografia claramente entre os dois meios comunicativos, o analógico e o digital
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Pontis, Annalisa. "Le rôle de la photographie dans la didactique de la langue italienne L2/Ls." Caen, 2013. http://www.theses.fr/2013CAEN1723.
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Grace à la cotutelle. Avec l'Université de Caen Basse-Normandie et l'expérience de l'enseignement de l’italien comme langue étrangère à l'Université pour étrangers de Pérouse, il a été possible de réaliser une thèse très originale qui allie la théorie et la pratique de l'enseignement. Il s’agit d'un parcours didactique de l'italien langue étrangère, niveaux avancé, qui combine de manière expérimentale le texte littéraire avec la photo afin d'impliquer les apprenants dans une réflexion linguistique et culturelle, Après un passage en revue d'ensemble théorique, qui traite les différents usages de l'image dans l'enseignement de la langue et la relation entre la photographie et le texte littéraire utilisés pour l'enseignement le l’italien langue étrangère, la recherche présente des exemples d'activités éducatives crées ad hoc et ainsi que un recueil des résultats de l'expérimentation en classe. La thèse se compose de trois parties : la première est consacrée à l'utilisation des images en général, et montre comment ils ont été utilisés pour l’enseignement du français et de l’italien au cours des dernières décennies, et la deuxième concerne la relation entre la photographie et le récit littéraire. La troisième parte traite, d'un point de vue théorique, les moyens pratiques par lesquels les textes littéraires et les images peuvent être utilisés dans l'enseignement de l’italien actuel. Dans cette dernière partie, nous présentons les résultats de l’enseignement expérimental de l’Université pour étranger de PérouseThanks to the joint supervision with the University of Caen Basse-Normandie and experience of teaching Italian as a foreign language at the University for Foreigners of Perugia, it was possible to achieve a very original thesis that combines theory and practice of teathing. This is an educational tour of the Italian language, advanced level, which combines experimentally the literary text with photo to involve learners in a linguistic and cultural reflection. After a stint in theoretical comprehensive, review, which addresses the different uses of the image in the teaching of language and the relationship between photography and literary texts used for teaching the Italian language, our research presents examples of educational activities and created ad hoc as well as a collection of the results of the experiment in class. The thesis consists of three parts : the first is devoted to the use of images in general, and how they were used for the teaching of French and Italian in recent decades, and the Second concerns relationship between photography and literary narrative. The third part, from a theoretical point of view, the practical way in which literary texts and images may be used in the teaching of current Italian. In this final section, we present the results Of the experimental teaching at the University for Foreighers of Perugia
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Hall, Mark. "Modelling and reasoning with quantitative representations of vague spatial language used in photographic image captions." Thesis, Cardiff University, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617675.
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DeLaCruz-Raub, Jeanne Marie. "Photographic metaphors: A multiple case study of second language teachers' experiences using the acquisition model." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5229/.
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The purpose of this study was to examine and document second language teachers' perceptions of their implementation of a meaning-making approach, known as the Acquisition Model, to second language instruction. Of particular focus were the concerns and strategies the second language teachers experienced when changing their pedagogical practice from mechanical to meaning making. The main research question, which guided this study, was: "What is the 'lived experience' of L2 teachers as they implement an innovative pedagogy to teach a second language?" The researcher addressed this research question through Max van Manen's (1990) six step phenomenological method, "Researching Lived Experience" and image-based research techniques (i.e., photo elicitation and reflexive photography). In addition, the researcher also created and applied an innovative data collection technique, which she called Collaborative Imagery. Findings from this study generated various implications in the areas of second language education, curricular change, teacher reflection, image-based research, and educational research.
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NOVELLINO, MARCIA OLIVE. "PHOTOGRAPHS IN AN ENGLISH LANGUAGE COURSE BOOK: AN ANALYSIS OF FUNCTIONS AND MEANINGS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10597@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROOs livros didáticos atuais de inglês como língua estrangeira refletem uma característica da sociedade ocidental: a forte presença de imagens. Considerando que as práticas sociais, profissionais e acadêmicas requerem o conhecimento de imagens e a capacidade de produzi-las, é importante entender como o estudo de imagens possa ser integrado no ensino. Autores como Kress e van Leeuwen (2000) e Unsworth (2004) clamam por um maior letramento visual já que a comunicação visual tem se tornado freqüente nos livros didáticos de inglês. Um dos elementos visuais de destaque é a fotografia. As fotografias são imagens de grande versatilidade podendo ser utilizadas tanto na documentação de dados legais, históricos, médicos e científicos, quanto em livro didático de inglês como língua estrangeira. Essa dissertação investiga as funções que as fotografias exercem nas atividades pedagógicas sugeridas pelo livro didático, de que maneira os significados nas fotografias são negociados, e como ocorrem as relações sociais entre o produtor da imagem e observador. Utilizando análise qualitativa, essa pesquisa se apóia na Gramática do Design Visual elaborada por Kress e van Leeuwen (2000) para a análise de imagens, baseada nos aportes teóricos da Gramática Sistêmico-Funcional de Halliday (1994, 2000). A análise mostra que as fotografias ilustram, dão apoio visual às atividades, aproximam alunos e professores do mundo real existente fora da sala de aula, trazem significados para dentro do livro didático. A análise aponta também a importância de mais pesquisas na área da multimodalidade em livros didáticos e no desenvolvimento de novas metodologias de análise visual.
EFL course books reflect a characteristic of contemporary Western society: the strong presence of images. Considering that social, professional and academic practices demand knowledge of images and ability to produce them, it is important to understand how the study of images can become an integral part of language study. Authors such as Kress and van Leeuwen (2000) and Unsworth (2004) argue for the need for visual literacy as visual communication has become more prominent in EFL course books. One of the most evident visual elements is the photograph. Photographs are versatile images that can be used in legal data, in historic, medical and scientific documentation, as well as in EFL course books. This dissertation investigates the functions of photographs in the activities suggested in an EFL course book, the negotiation of meanings in photographs, and the social relations between the producer of the image and the observer. This research uses a qualitative analysis of images following Kress and van Leeuwen`s (2000) The Grammar of Visual Design, which is based on the theory of Systemic Functional Grammar by Halliday (1994, 2000). The analysis of the course book shows that photographs illustrate arguments, bridge the students` and the teacher`s world with the real world outside the classroom, and bring meanings into the course book. It also points out the importance of conducting more research on multimodality in EFL course books and developing new methodologies for visual analysis.
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Kim, Lynn. "Body Language." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587494555861933.
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Martin, Paul. "Datation automatique de photographies à partir de caractéristiques textuelles et visuelles." Caen, 2015. https://hal.archives-ouvertes.fr/tel-01260365.
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Les polyhydroxyalcanoates (PHA) sont des bioplastiques qui peuvent être produits par voie microbienne à partir de ressources renouvelables. La matière grasse hydrolysée et ses co-produits constituent des substrats de choix, valorisables en PHA. Ce travail porte sur la co-assimilation du glycérol et de l’acide octanoïque, comme modèle d'hydrolysat, par Pseudomonas putida pour la production de mcl-PHA. Des cultures en Erlenmeyer, en présence puis absence d’azote, montrent que les 2 substrats peuvent être co-assimilés mais que le glycérol favorise la croissance alors que l'acide octanoïque est dirigé préférentiellement vers la synthèse des mcl-PHA. Sur acides gras à longue chaine (C16 à C18:3), en présence ou absence d’azote, les mcl-PHA produits comportent des monomères particuliers, mono- di- et tri-insaturés. Des cultures batch sur glycérol et acide octanoïque seuls ou en mélanges à différentes proportions, ont été réalisées. La co-assimilation des 2 substrats induit une amélioration des rendements en PHA et en biomasse résiduelle, montrant l'existence d'une synergie positive entre les 2 métabolismes. Le rôle de l’azote, au travers du ratio C/N, dans la production de mcl-PHA et de biomasse résiduelle a été étudié lors de cultures alimentées. Les conditions de carence azotée stimulent l'accumulation de PHA mais occasionnent transitoirement une lyse cellulaire réduisant ainsi la longévité de la culture. Cependant, une limitation azotée contrôlée montre que flux de carbone dirigé vers la synthèse des PHA augmente avec le ratio C/N tout en assurant une production régulière de biomasse résiduellePolyhydroxyalkanoates (PHA) are bioplastics produced by microorganisms from renewable resources. The hydrolyzed fat and its co-products are promised substrates, recoverable in PHA. This work deals with the co-assimilation of glycerol and octanoic acid, as hydrolyzate model, by Pseudomonas putida to produce mcl-PHA. Cultures in Erlenmeyer, with then without nitrogen, show that both substrates are co-assimilated but glycerol promotes growth whereas octanoic acid is preferentially directed toward mcl-PHA synthesis. On long chain fatty acids (C16 to C18:3), in presence or absence of nitrogen, the mcl-PHA synthetized contain particular mono- di- and tri- unsaturated monomers. Batch cultures on glycerol and octanoic acid alone or in mixtures with various proportions were carried out. The co-assimilation of these two substrates induces improvement in substrate conversion yields of PHA and residual biomass, showing a positive synergy between the two metabolisms. The role of nitrogen, through the C/N ratio, in the production of mcl-PHA and residual biomass was studied in fed batch cultures. Nitrogen deficiency conditions stimulate PHA accumulation but cause a transient cell lysis thereby reducing longevity of the culture. However, a controlled nitrogen limitation show that carbon flux involved in PHA synthesis increase with the C/N ratio while ensuring a regular residual biomass production
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Nguyen, Thi Kim Lan. "Les documents iconographiques de presse dans les manuels de Français Langue Etrangère au Vietnam. Analyse d'une médiation de nature translittéracique méconnue." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR004/document.
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Les manuels de FLE sont utilisés au service de l’enseignement du français dans les universités de nombreux pays et notamment au Vietnam. Ils sont des supports de base en classe et les enseignants sont autorisés à emprunter des exercices de compréhension ou d’expression proposés dans ces manuels afin de faire développer les compétences de langue des apprenants. Le retour sur l’histoire de ces manuels montre qu’ils se renouvellent sans cesse via l’actualisation et l’enrichissement des informations, des connaissances et par la présence d’une grande variété d’images. Parmi celles-ci, les photographies de presse sont considérées comme un moyen de communication chargé de capter l’attention et d’accompagner le discours tenu sur un événement, un fait, une information particulière. Nous avons ainsi extrait et analysé toutes les photographies de presse présentes dans les manuels en recherchant systématiquement les symboles, les connotations culturelles susceptibles d’être difficile à comprendre pour les apprenants de culture étrangère. L’étude porte ainsi sur 46 manuels scolaires publiés entre 1994 et 2015 et propose l’analyse qualitative de 284 images de presse. Au-delà de leur fonction illustrative et informative, elles ont aussi pour mission de véhiculer des messages culturels, de représenter les différences entre la culture française et la culture étrangère à travers des symboles culturels plus ou mois implicites. Sans prétendre être exhaustif, cette étude propose un nouveau regard sur la réalité d’une modalité éditorialeFrench manuals are used in teaching French, a foreign language, in many universities in Vietnam. They are basic supporting materials in class, and teachers are authorized to borrow comprehension and expression exercises in these manuals to develop the learners’ language competence.For several decades the manuals have progressively been renewed for updating and enriching information as well as diversifying images. Lots of images presented in these manuals are being used as documents for pedagogical aim or objectives for learning activities. Especially, press photographs, research subject in this study, which are considered as a means of communication, can indeed attract learners’ attention. Besides their informative function, they have another mission, a vehicle for cultural messages, which represent differences between French culture and Vietnamese culture through symbols and cultural implicites. The study concerns 46 textbooks published between 1994 and 2015 and proposes the qualitative analysis of 284 images of press. Aiming to propose a new look at the reality of editorial modality, we have analyzed the press photographs in which cultural connotations are evoked, which are difficult for learners from another culture to comprehend
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dos, Anjos Afonso Manoela. "Language and place in the life of Brazilian women in London : writing life narratives through art practice." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12000/.
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Studies on Brazilians living in Britain show that, along with loneliness, unemployment and cost of living, the lack of proficiency in English is a key problem. However, there is little qualitative information about how the host language affects their daily lives. This interdisciplinary practice-based research asks how an art practice activated by experiences of displacement and dislocation in language can become a place of enunciation for decolonial selves. To this end, this research includes not only individual practices, but also collective activities carried out with a group of Brazilian women living in London, as a research focus. The endeavour to deal with English language has engendered writing processes in my visual work, which became a place for experimenting bilingual and fragmentary voices against the initial muteness in which I found myself on arrival in London. Using photography, printmaking, drawing, postcards, and artist’s books I have explored life-writing genres of diary, language memoir, and correspondence to raise an immigrant consciousness, explore accented voices and create practices for writing life individually and collectively. Assembling words and turning their meanings became strategies for expanding limited vocabularies. Once an impassable obstacle, the host language was transformed into a territory for exploring ways to know stories about language and write life narratives through art practice. This research is informed by humanist and feminist geographical approaches to space and place, postcolonial life writing, border thinking and a context of practice ranging from transnational art, accented cinema, visual poetry, conceptual art, and socially engaged art. It provides insights about English language in the lives of Brazilian women in London and offers a view on a practice in visual arts as place of enunciation for decolonial selves.
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Silva, Corinne. "Dreamlands and ecotones : how can a photographic language be constructed to explore the politics of landscape on the political equator?" Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/6530/.
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This thesis is structured around a central overriding question: to what extent can the practice of landscape photography be used to make visible the politics of landscape in borderland territories? Introduced by architect Teddy Cruz, the ‘political equator’ suggests an alternative politics of space through which to critically consider socio-economic and geopolitical processes associated with globalisation under neoliberal capitalism. This equator is based on a revised geography of the post-9/11 world, whereby a line drawn across a world map intersects at three contested desert territories: 1) the Mexico USA frontier; 2) southern Spain and northern Morocco; and 3) Palestine/Israel. This concept and its implications for human mobility, porous frontiers and material readings of landscape are explored through my photographic practice. In this work I challenge the idea of ‘hard borders’ between sovereign nation-states and make new political and symbolic associations between the territories along the political equator. Landscape can be seen as a cultural construct imbued with social uses and a more abstract set of desires. Photography as both a material and imaginative medium is able to simultaneously narrate and re-shape landscape. Through my three projects, Imported Landscapes (2010), Badlands (2011) and Gardening the Suburbs (2013) I examine and translate borderland territories. I produce photographs that suggest how these landscapes embody the contradictions of globalisation and carry the traces of past empires and geographies. I analyse the creation of a built environment and the construction of a post-natural landscape to suggest that our understanding of landscape – in ‘real-life’ and as it is aesthetically configured in images – is something materially arranged and a product of the imagination. My practice facilitates an imaginative engagement with potential future political sustainability or modification of these landscapes. Visuality plays a pivotal role in the production of contemporary geo-politics. By exploring three of my art projects in relation to historical and contemporary visual representations of desert borderlands, political and symbolic readings of the desert emerge as inherently connected. This thesis creates an innovative connection between early photographic practices in landscape and their later critical and conceptual versions. The thesis considers the ways in which my work translates, critiques and revises these conventions. I approach landscape phenomenologically, understanding it not as a static entity but as a process. This process is composed of and shaped by human and animal life, material object and place. Through an analysis of my own embodied engagement with landscape and my material and imaginative experience of landscape photographs, this thesis opens new ways of narrating the thresholds of the political equator.
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Ahl, Josefin. ""That Little Box of Light" : The Presence of Photography in John Banville’s Ghosts." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-23946.
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Ballentine, Brandon Clarke. "The Narrative Lens: Understanding Eudora Welty's Fiction through Her Photography." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2199.
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Eudora Welty's brief photographic career offers valuable insight into the development of her literary voice. She discovers many of the distinguishing characters of her fiction during the 1930s while traveling through Mississippi writing articles for the Works Progress Administration and taking pictures of the people and places she encountered. Analyzing the connections between her first collection of photographs, One Time, One Place: Mississippi during the Depression: A Snapshot Album, and her first collection of short stories, A Curtain of Green, and Other Stories, reveals the writer's sympathetic attitude towards her characters, the prominence of place in her fiction, and her use of time in the telling of a story.
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Vigliotti, Jeanette C. "The Double Sighted: Visibility, Identity, and Photographs on Facebook." UNF Digital Commons, 2014. http://digitalcommons.unf.edu/etd/506.
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The primary objective of this analysis is to uncover the tools of Facebook identity construction. Because Facebook users have the ability to control the images and information associated with their profiles, reactionary scholars typically classify Facebook identity as a symptom of cultural narcissism. However, I seek to displace the fixation on the newness of the medium in order to interrogate the possibility of a society that has internalized surveillance. Using Michel Foucault’s theories on panopticism and heterotopia, I examine the role photographs play in the construction of an individual on Facebook, and the ways in which user photographs are positioned into social memory construction.
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GOMES, DIANA SANDES. "HYBRIDISMS: BUILDING A LANGUAGE AND THE CO-AUTHORIAL WRITING IN THE PHOTOGRAPHER: INTO WAR-TORN AFGHANISTAN WITH DOCTORS WITHOUT BORDERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30171@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O Fotógrafo: Uma História no Afeganistão, história em quadrinhos realizada em coautoria pelo fotógrafo Didier Lefèvre, o quadrinista Emmanuel Guibert e o designer gráfico Frédéric Lemercier, narra a experiência de Lefèvre como fotojornalista contratado pela organização Médicos Sem Fronteiras em uma expedição que no ano de 1986 levou socorro médico ao Afeganistão. Esse trabalho investiga de que forma um meio híbrido como as histórias em quadrinhos - que dialoga com frequência imagem e texto, e, no caso de O Fotógrafo, também ilustração e fotografia - pode ser lido como uma linguagem específica. Pretende-se também analisar o duplo movimento de escrita de si e de escrita do outro articulado no livro, levando-se em conta as particularidades da escrita coautoral.
The Photographer: Into War-torn Afghanistan with Doctors Without Borders, a graphic novel coauthored by photographer Didier Lefèvre, comic book artist Emmanuel Guibert and graphic designer Frédéric Lemercier, presents Lefèvre s experience as a photojournalist hired by Doctors Without Borders in a 1986 expedition that brought medical aid to Afghanistan. This work investigates the manner in which a hybrid medium such as comics - which frequently uses a dialogue between image and text, and, in the case of The Photographer, illustration and photography as well - can be read as a specific form of language. It also aims at analyzing the double movement of self-writing and other-writing articulated in the book, taking into account the specificities of co-authorial writing.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Albuquerque, Maria Beatriz Rüegger de. "Fotografia: consciência da linguagem: Casa da Fotografia de Diadema, um estudo de caso." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2685.
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Previous issue date: 2010-08-26Fundo Mackenzie de Pesquisa
This work is a reflection of the interdisciplinary pedagogical experience as individual trajectories transforming, having as a model the photography course held at the House of Photography in Diadema, São Paulo, from the perspective of theorists of education, culture and philosophy. The photography course was one of the activities of the cultural project Citizenship is Done with Art, funded by the government. This is the teaching strategy of working with concrete examples and experiences, aiming to teach photography as a technique and a way of expression as well as visual language. The analysis is based on the application and comparison of concepts of the pedagogical method of Paulo Freire, and key elements of the semiotic theory of Charles Sanders Peirce, especially the concept of abduction.
Este trabalho é uma reflexão sobre a experiência pedagógica interdisciplinar como transformadora das trajetórias individuais, tendo como modelo o curso de fotografia, realizado na Casa da Fotografia em Diadema, São Paulo, sob a ótica de teóricos da Educação, da Cultura e da Filosofia. O curso de fotografia foi uma das atividades do projeto cultural Cidadania se faz com Arte, financiado pelo poder público. Trata-se da estratégia pedagógica de se trabalhar com experiências e exemplos concretos, com o objetivo de ensinar fotografia como técnica e forma de expressão e linguagem visual. A análise tem como base a aplicação e comparação de conceitos do método pedagógico de Paulo Freire e de elementos fundamentais da teoria semiótica de Charles Sanders Peirce, em especial o conceito de abdução.
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Komosa, Eric. "SERPENT SOMETHING." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491318561523256.
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Lindholm, Ola. "Ögonblick i klassrummet : Samtal och interaktion om elevers fotografier på gymnasiet." Licentiate thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33497.
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En kamera fångar ögonblick av det ljus som människan kan uppfatta, eller verkligheten som det ibland kallas. Dessa ögonblick i form av fotografier, arbetar de elever och den lärare med, som Ola Lindholm har följt på gymnasiet. Läsaren kan följa hur eleverna interagerar, hur det sociala samspelet organiseras under lektioner och redovisningar, vad som görs viktigt samt hur bildteoretiska- och yrkesmässiga kunskaper framträder i interaktionen. I studien framträder ett arbetssätt som ger eleverna ansvar och möjlighet att visa vad de kan i interaktionerna och vid redovisningarna av deras fotografier. Resultatet visar hur läraren försöker få eleverna att se skillnader i fotografiets uttryck, skärpedjup, bildbeskärning etcetera. Ibland gör eleverna motstånd och förhandlar med läraren där eleverna hävdar sin kunskap och sina åsikter om sina bilder. I bildanalysen av ett elevfotografi framträder två olika intentioner med de förslag som läraren och eleven förhandlar om. Studien visar att bildteorier, bildspråket och vad bilden kan berätta, inte är lika framträdande i interaktionen som frågor om teknik och process. Ola Lindholm, är bild- och medielärare på Sundstagymnasiet i Karlstad. Licentiatavhandlingen har skrivits inom Forskarskolan i yrkesämnenas didaktik.A camera captures the moment of light that humans can perceive, or the reality as it is sometimes called. The work and the interaction in the classroom with these frozen moments in the form of photographs can be followed in this study at a media program in high school. The aim of the study is to research how students interact, how the social interaction is organized in lectures and presentations, what becomes important and how the pictorial theory and professional knowledge emerges from the interaction.The study reveals a didactical way of working that gives students the responsibility and opportunity to communicate and show what they can, both in interactions with the teacher during their work with the photographic picture and in the presentations of their photographs. The results show how the teacher tries to get students to see the differences in the photographic expression, depth of field, cropping and so on. Sometimes the students make resistance and negotiate with the teacher, showing knowledge and arguing for their opinions about their pictures. One picture analysis of student photography reveals different intentions with the proposals that the teacher and student negotiates about. The study shows that pictorial theories, picture language, and the communicative intention, are not as prominent in the interaction as issues about technique and process.
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Vicente, Mercedes. "Images of people at work : the videomaking of Darcey Lange." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2853/.
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This thesis examines the work of New Zealand artist Darcy Lange (1946-2005) who,trained as a sculptor at the Royal College of Art (1968-71), subsequently developed a socially engaged video practice, making remarkable studies of people at work that drew from social documentary traditions, structuralist videomaking and conceptual art. My research into his oeuvre draws on intertwined artistic, theoretical, historical and cultural discourses from the period in which he was active, particularly those concerned with realism and representation, reflexivity and video feedback, the document and documentary, the dialogic and participation, art and society, and social activism. Starting with his last sculptural ‘environment’ Irish Road Workers (1971) and ending with the series Work Studies in Schools (1976-77), labour was the sole subject of Lange’s oeuvre for much of the 1970s. In his words, his aim was “to convey the image of work as work, as an occupation, as an activity, as creativity and as a time consumer”. He engaged in comprehensive studies of people at work in industrial, farming and teaching contexts across Britain, New Zealand and Spain. A commitment to realism guided his works in the early 1970s, evident in his adherence to an observational practice reduced to its bare essentials. Using photography, film and video (at times simultaneously), he portrayed workers performing their tasks, and cast workplaces, schools and mines as complex societal mechanisms engaged in the production and reproduction of class identity. Work Studies in Schools introduced a radical shift in his practice, influenced by current epistemological and philosophical concerns about the politics of representation that recognised representation (and its making of meaning) as contingent and dependent on context. Rather than engage in the examination of the image’s process of signification through structuralism and semiotics, Lange grounded his analysis in human experience and opted for the dialogic possibilities of camera lens media. Focusing on pedagogical practices in the classroom, Lange explored the implications of video for teaching and learning, inviting his subjects to speak through their own analysis of their experiences of work and class. In enabling a situation where the social exchange between teacher and pupils could be observed and analysed collectively, Lange turned a closed process of exchange into something more open that could be mutually redefined and transformed. In so doing, his images of people at work sought to confer agency, in an effort to realise his expressed ‘socialist aspirations’. Lange’s political awareness grew in a decade of intense politicisation in the United Kingdom. In New Zealand, the 1970s saw the beginning of the so-called ‘Maori Renaissance’. Lange joined the efforts of fellow activists and documentarians there to raise awareness and support for the land claims by the Maori indigenous people and, working in collaboration with Maori activist and photographer John Miller, produced the Maori Land Project (1977-1980). It was in the Netherlands where he further developed the ideas and aspirations behind this project, collaborating with René Coelho, founder of Montevideo in Amsterdam, and Leonard Henny, professor at the Sociological Institute’s Centre for International Development Education in Utrecht. Theoretical debates about cultural difference of the period framed this project, driven also by Lange’s desire to further extend social agency with his videomaking. An activist impulse also lay behind his political multimedia musical performances People of the World (1983-84) and Aire del Mar (1988-94). Unlike many of his contemporaries, Lange’s turn to video was not to engage in conceptual activities or as a deconstructive exercise. I argue that he was drawn to video (film and photography) for its experiential and dialogical nature and capabilities, as “a way to get closer to people” and leave the isolation of a studio practice. He was driven by a desire to seek out a social purpose to artistic activity while avoiding the dogmatic political advocacy of his community art contemporaries.
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Ferguson, Elizabeth. "It's important for me to get good light. or "things which are happening"." Pitzer College, 2008. http://ccdl.libraries.claremont.edu/u?/stc,59.
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Amaral, Luciana. "A importância do tratamento intelectual das fotografias visando à recuperação da imagem." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-27112009-184950/.
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Este trabalho discute a importância do estabelecimento de uma política de indexação e a proposição de uma linguagem documentária (LD) para orientar o documentalista quanto ao processo de indexação de fotografias, alinhado às necessidades do usuário e ao perfil da instituição. Foi realizada uma análise comparativa entre o referencial teórico e as práticas existentes em três instituições-memória. A questão fundamental foi verificar se a metodologia utilizada estava alinhada ao perfil da instituição-memória e se atendia às necessidades dos usuários. Averiguamos que, apesar de haver métodos já consagrados referentes à análise do conteúdo da imagem e à criação de linguagens documentárias, estes não foram utilizados nas instituições-memória com acervos fotográficos. A tarefa de indexação foi realizada ali a partir de critérios muito particulares; no entanto, atendeu às necessidades da instituição, desde que a busca fosse mediada pelo documentalista. Essa constatação reforça a percepção de que o conteúdo da imagem geralmente é identificado conforme o perfil da instituição e as necessidades dos usuários, mas que a adoção de critérios socializáveis de representação do conteúdo da imagem se torna essencial quando o sistema não prevê a mediação do profissional documentalista.The present paper discusses the importance of establishing an indexing policy and the proposal for a documentary language (DL) to guide documentalists regarding photographic indexing processes, which are aligned to the users´ needs and the institutional profile. A comparative analysis between theoretical references and existing practices has been carried out within three memory-institutions. The pivotal issue was to verify whether the methodology used was aligned to the profile of the memory-institution and whether it catered to users´ needs. The conclusion reached was that, despite the existence of already-established methods related to image content analysis and creation of documentary language, such were not employed at memory-institutions with photo archives. The task of indexing was performed therein by using very particular criteria; nevertheless, it catered to institutional needs, as long as the search was mediated by the documentalist himself. Such evidence reinforces the perception that image content is usually identified according to institutional profiles and users´ needs, but also that the adoption of socializable criteria of image content representation becomes essential when the system does not foresee mediation by the documentalist.
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Hsu, Tzu Ting. "The reimagined migrant portrait - exploring the lives of Chinese and Taiwanese minorities living in South Africa." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31251.
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This multimedia project explores the lives of Chinese and Taiwanese migrants living in South Africa and how language, culture, community and marginalisation have come to shape their identities and to visually represent them in a way that is not prevalent in mainstream media. It uses two visual mediums – photography and video interviews – to understand these migrants’ experiences, how they perceive themselves and how they think society perceives them. Data analysis consisted of a process of coding the video interviews and structural analysis of the visuals. Rising worldwide migration has simultaneously increased the spread of diasporic communities. China’s positionality as an economic powerhouse and the influx of East Asian migrants to South Africa in recent years has shone a light on this minority population group. However, much of what is known about them tends to be through forms of mass media which perpetuates stereotypical representations. This paper draws on various literature including acculturation, diasporic communities, representation, languaging and xenophobia to explore the lives of East Asian migrants living in South Africa and search for more empowered forms of representation.
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Swensen, James R. "Dorothea Lange in Utah, 1936-1938: A Portrait of Utah's Great Depression." BYU ScholarsArchive, 2000. https://scholarsarchive.byu.edu/etd/5157.
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In his 1978 biography of Dorothea Lange, Milton Meltzer appraised Lange's 1936 photography in Utah as nothing more than mundane work done for the benefit of the Farm Security Administration (FSA) and not for her own benefit as a photographer. Yet, her work in Utah encapsulates the aspirations, goals, and styles of Lange, and gives insight into her vision as a photographer and representative of the New Deal. Through carefully composed photographs, Lange shows the hardships and hope of life in Utah during the Great Depression. This thesis investigates Lange's photographs in order to gain a greater understanding of the FSA in Utah during the Great Depression, the nature of FSA photography, and her work in general. To accomplish these tasks, it will be necessary to investigate the photographs and their captions, the work of other FSA photographers, local histories, contemporary sources, and FSA scholarship. Using these sources, this thesis attempts to identify reasons why Lange took the photographs she did. Using the historical context under which Lange's photographs were made also allows for an examination of Lange's use of visual editing, or, in other words, her artistic manipulation in creating her own vision of the areas she was assigned to photograph. The manner in which she photographed the small rural towns of Consumers, Widtsoe, and Escalante, was not completely indicative of the towns' true nature, or the towns' reality. Rather, the portraits Lange created were personal visions that supported the FSA and her own beliefs and altruistic ideology.
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Miner, Lauren. "The “Man Walks Outside Time Now”: Verbal Representations of Photographic Images in the Poems of Larry Levis." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/402.
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The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”
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Crooke, Andrew. "In praise of peasants : ways of seeing the rural poor in the work of James Agee, Walker Evans, John Berger, and Jean Mohr." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1576.
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In Praise of Peasants focuses on two sets of collaborators whose photo-textual depictions of the rural poor have been widely hailed on either side of the Atlantic but rarely discussed together. The British writer John Berger has acknowledged that the key inspiration for his projects with Swiss photographer Jean Mohr was Let Us Now Praise Famous Men (1941/1960) by James Agee and Walker Evans. As in that encomium to Alabama tenant farmers, Berger and Mohr straddle a line between social documentation and artistic expression in their own unclassifiable books: A Fortunate Man (1967), about a doctor's relationship with his patients in an English forest; A Seventh Man (1975), about the experience of migrant workers across Europe; and Another Way of Telling (1982), about the lives of Alpine peasants. All four of these cooperative endeavors brim with unresolved conflicts between ethics and esthetics, as well as authorial ambivalences toward rusticity and poverty. Manifold affinities in the two creative partnerships demand a transatlantic assessment that might view Agee and Evans as "unpaid agitators" for other artists and witnesses beyond an American ambit.
From among the many sensitive portrayals, including Berger's Into Their Labours trilogy, that constitute a rich literature of rural poverty, these collaborative enterprises are set apart not only by their interdisciplinary nature and fierce solidarities but by the equal weight they accord to images and words. Both pairs of authors develop innovative means for conjoining photography and writing. Both worry over the effects of their pictures and text on their subjects in addition to pondering how their distinct yet coordinated mediums might affect their viewers and readers. The enduring relevance of their representational techniques and motifs emerges from a productive dialectic between witness and artistry. Agee, Evans, Berger, and Mohr ingeniously explore how an ethical responsibility to bear witness for the exploited without inflicting further exploitation is enhanced or subverted by an esthetic impulse to translate, verbally and visually, such marginalized lives into art. Their multifaceted ways of seeing the rural poor ultimately engender a means of praising their protagonists, transforming moments of witness into monuments of artistry.
Following a comparative analysis of these authors' attitudes, consistencies, and contradictions over the span of their careers, I offer chapters on their likeminded works. "Abashed Ambition" scrutinizes the contest deliberately staged between intentions and performance in Let Us Now Praise Famous Men , while "A Continuous Center" examines how Agee's effusive text and Evans's austere photographs suspend instead of synthesize a pivotal tension between centripetal and centrifugal forces. "A Sense of Measure" looks at why Berger and Mohr increasingly empathize with the rural poor, and how their three ventures generate "imaginative documentaries" or "narrative dialogues" between images and words. My epilogue knits together Agee, Evans, Berger, and Mohr by concentrating on a handful of their creative peers or heirs who have been inspired or agitated by their collaborations and whose own books similarly probe the ethical jeopardies and esthetic challenges of representing rural life or poverty through both prose and pictures.
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Kaplan, Lisa H. ""Introducing America to Americans": FSA Photography and the Construction of Racialized and Gendered Citizens." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1439562584.
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Gambera, José Leonardo Homem de Mello. "Geografia e fotografia: articulando a imagem pela palavra." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-27022014-111341/.
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Em busca de uma abordagem interdisciplinar para o ensino de Geografia, articulada à Fotografia e Língua Portuguesa, este trabalho considera a importância de pesquisas teóricopráticas no ambiente escolar, é fruto da aplicação de uma sondagem diagnóstica com professores da Educação Básica sobre sua concepção e prática quanto ao uso dos recursos audiovisuais, em um primeiro momento; e da aplicação de uma sequência didática por gênero discursivo textual em duas classes de Ensino Fundamental II, na segunda fase do campo empírico. Como pressupostos principais, consideramos a Geografia como ciência que apresenta às crianças e adolescentes conceitos científicos que as permitem entender o espaço geográfico em que vivem e as múltiplas relações que se dão nele; a Fotografia como técnica e linguagem imagética precursora de amplos avanços nos meios de comunicação de massa, inventariante visual da história do mundo e da história de nosso olhar sobre o mundo, além de ter contribuído desde seu surgimento para as metamorfoses da percepção que ainda vivemos; e, a Língua Portuguesa, assim como as demais linguagens verbais orais escritas, bases da estruturação do pensamento e do desenvolvimento de conceitos espontâneos e científicos, intrínsecos à formação da autonomia intelectual e discursiva humana. Detectou-se neste estudo a dificuldade dos professores em conceber e utilizar os recursos audiovisuais, e dentre eles a Fotografia, como uma linguagem imagética que tem uma gênese histórica, oriunda de múltiplos avanços da ciência, passível de ser instrumento para enunciados de sujeitos discursivos e de significação e argumentação a partir de sua relação com a linguagem verbal escrita, portadora e geradora de conceitos. Inclusive os professores estão em descompasso com a realidade de ampla disseminação de tecnologias e linguagens imagéticas, uma vez que elas já fazem parte de seu meio sociocultural e do cotidiano das crianças e adolescentes da gerações atuais, porém os professores têm uma lacuna na formação e não estão capacitados para utilizá-las de forma complexa e associada aos conceitos científicos das disciplinas escolares para propiciar melhor desenvolvimento das funções intelectuais de seus alunos. Com as atividades de leitura de Fotografias dos contextos geográficos Caatinga e Amazônia associada à expressão pela linguagem verbal escrita, obtivemos o resultado de que os alunos das duas classes de 6ª série trabalhadas, têm acesso massificado e banalizado à Fotografia, e conceitos espontâneos sobre a mesma, o que não garante sua conceitualização profunda, percepção clara e precisa de dados visuais ou a inferência e correlação de dados geográficos a partir de fotografias. A fluência na linguagem verbal escrita e a capacidade de linguagem de argumentação se mostrou determinante para o entendimento do conteúdo da linguagem imagética, uma vez que sem a palavra e o conceito formados na mente, a criança tende a se perder na polissemia da imagem fotográfica e não articula hierarquizações, generalizações e sistematizações típicas do pensamento científico e fica limitada aos conceitos espontâneos e à imprecisão sensorial da visão. Nas considerações finais esboçamos uma proposta de Mapa Técnico-Analítico e Mapa Conceitual de fotografias para próximas pesquisas aplicadas ao ensino-aprendizagem de Geografia e outras disciplinas escolares.In the search of an interdisciplinary approach for Geography teaching, articulated to Photography and the Portuguese Language, this work considers the importance of theoreticalpractical research inside school environments, and it is the result of a diagnostic survey with teachers of Elementary Education on their concepts and practice with audiovisual resources, at first; and the application of a textual discoursive genres didactic sequence in two Elementary School classes, the second phase of our practice. Our main assumptions are: Geography as a science that presents to children and adolescents scientific concepts that allow them to understand the geographical space they live in and the multiple relations ocurring in it; Photography as a precursory technique and imagetical language responsible to large advances in mass media communications, a visual gatherer of the history of the world and of the history of our vision about the world, besides contributing since its emergence to the methamorphosis of perception we are still living; and Portuguese Language, just as the other verbal languages, as the basic structures of thought and the development of spontaneous and scientific concepts, intrinsical to the formation of intellectual and discoursive human autonomy. We detected in this study the difficulty of the teachers to conceive and utilize the audiovisual resources, and among them Photography, as an imagetical language that has a historical origin, derived from multiple advances in science, wich can be a tool for utterances of discoursive subjects and of significance and argumentation from its relation with verbal language, bearer and generator of concepts. Teachers are out of step with the reality of broad propagation of imagetical technology and languages, even though it\'s part of their sociocultural environment and from nowadays children\'s and adolescents\' quotidian, although teacher have a gap in their formation and are not qualified to use them in a complex way and associated to the scientific concepts of the school disciplines to provide a better development of the intellectual functions of their students. With the \'reading\' activities over photographs of the geographical contexts of Caatinga and Amazônia associated to the verbal language expression, we obtained the result that the students of the two classes of the 6th Grade we dealt, have massified access to Photography and even spontaneous concepts on it, but that doesn\'t guarantee their profound conceptualization, clear and precise perception of visual data or the inference or correlation of geographical data from photographs. The fluence at the written verbal language and the language capacity of argumentation revealed itself determinant for the understanding of the imagetical language, since that without the formation of word and the concept forged in its mind, the children tends to get lost at the polysemy of the photographic image and don\'t articulate hierarquizations, generalizations and sistematizations typical of the scientific thought and stays limited to the spontaneous concepts and to the sensorial imprecision of the eye vision. At last we outline a proposal of Technical- Analytical Map and Conceptual Map of photographs for further research applied to teaching and learning Geography and other school disciplines.
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Fernandez, Pablo Sebastian Moreira. "Narrativas urbanas de um caminhante." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252028.
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Orientador: Wenceslao Machado de Oliveira JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-09T18:14:01Z (GMT). No. of bitstreams: 1 Fernandez_PabloSebastianMoreira_M.pdf: 47086174 bytes, checksum: 5ba88fb864c608341be850dae29fb4bc (MD5) Previous issue date: 2008
Resumo : Perder-se, andar a deriva, vagar sem rumo, lançar-se de encontro à multidão, caminhar pelas ruas sem um traçado pré-determinado, movimentos do corpo que conduzem o olhar ao conhecimento e ao encontro das almas que habitam a cidade. Não uma cidade que se apresenta só em sua materialidade, mas como um lugar interior, imaginado, construído a partir das lembranças de quem a percorreu na infância, cidade que acolhe o acaso e o imprevisível. Assim, a fotografia e a escrita dos contos e dos ensaios desta dissertação são entendidas como modos de linguagem que se encontram e se complementam num diálogo, na intenção de criar narrativas a partir das experiências de quem hoje caminha e vivência as ruas do centro da cidade de Campinas-SP
Abstract : To get lost, to drift loosely, without guidelines, to launch the researcher against the crowd, to walk on the streets without plans, to allow the body to guide the eye in the direction of both knowledge and the souls who live in the city: these are the objectives of this work. The city is not only studied in it¿s materiality, but also as a place within, imagined and build from the memories from someone who knew it from childhood, one city that hosts both chance and the unpredictable. The pictures, the tales and the research itself are kinds of languages that meet and complete each other in dialogue, intending to create stories based on the experience of people who live and walk on the streets of downtown Campinas ¿ SP
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Patrasso, Rahel. "Além do visível: a fotografia e a óptica da psicanálise." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-19032013-150518/.
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Desde a invenção da fotografia discute-se o caráter de realidade e de verdade contido nas imagens. Retomaremos tal discussão, partindo da afirmação de Benjamin (1985) de que o que se impõe à câmera não é o mesmo que pode ser apreendido pela visão; neste sentido, só a fotografia revela este inconsciente óptico, como só a psicanálise revela este inconsciente pulsional. Apostamos, de acordo com Benjamim (1985), que a fotografia não só revela alguns aspetos deste inconsciente óptico, mas como linguagem, de acordo com Lacan (1953/54), está submetida aos mesmos princípios descritos pela psicanálise. Propusemos, então, uma interlocução entre fotografia e psicanálise, a partir do que chamamos de a óptica da psicanálise, anunciada por Freud desde sua Interpretação dos Sonhos (1900), e dos conceitos do registro do Imaginário, Simbólico e Real de Lacan. Tais conceitos percorridos por nós objetivaram desvendar a tensão entre realidade, ficção e verdade na fotografia. Para tanto, nos debruçamos sobre a polêmica entorno da fotografia do fotográfo sul\\africano Kevin Carter ganhadora do premio Pulitzer de 1994. Entendemos que a fotografia, como qualquer outra forma de representação e, de linguagem produz um hiato em relação à realidade. Cada imagem produz uma sequência que comporta um aquém e um além do visível e do que pode ser representado, cuja toda significação só pode ser encontrada a posteriori. Desta forma, como linguagem a imagem fotográfica é análoga as formações do inconsciente tal como os sonhos, os chistes e o ato falho. Assim, supomos que a fotografia pode ser reveladora como produção da verdade, verdade esta, que já sabemos de antemão, ser de acordo com Freud (1940) e Lacan (1972) não toda.Since the photographys invention there is discussion about the nature of reality and truth contained in the images. We will return to this discussion, from Benjamin\'s assertion (1985) that what imposes to the camera is not the same that what can be apprehended by the sight, in this sense, \"only the photography shows this optical unconscious, just as psychoanalysis reveals this pulsioal unconscious. \" We bet, according to Benjamin (1985), that photography not only reveals some aspects of this \"optical unconscious\", but as a language, according to Lacan (1953/54), is subject to the same principles described by psychoanalysis. Threfore, we proposed then a dialogue between photography and psychoanalysis, from what we call the optics of psychoanalysis, announced by Freud since his Interpretation of Dreams (1900), and the Lacans concepts of the Imaginary, Symbolic and Real. Such concepts covered by us aimed to unravel the tension between reality, fiction and truth in photography. For this purpose, we analyze about the controversy surrounding the photograph of South African the photographers Kevin Carter, winner of Pulitzer Prize in 1994. We understand that photography, like any other form of representation and language, produces a hiatus from reality. Each image produces a sequence that includes a below and a beyond the visible about what can be represented, whose full meaning can only be found retrospectively. Thus, the photographic image as a language is analogous the formations of the unconscious such as the dreams, the wits and the parapraxis. Thus, we assume that the picture can be as revelatory production of truth, truth is, we already know beforehand, be according to Freud (1940) and Lacan (1972) it`s not.
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Olivier, Claire. "Images : voir, penser, rêver : approche intermédiale de l'oeuvre (2000-2015) de Jean-Phlippe Toussaint, écrivain, photographe, cinéaste et plasticien." Thesis, Limoges, 2018. http://www.theses.fr/2018LIMO0086.
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Ce travail de recherches interroge l’ensemble des activités artistiques menées par Jean-Philippe Toussaint à l’aube du XXIe siècle. Ces activités déterminent un corpus composé des différentes publications, expositions, installations qui tissent entre elles des liens explicites et implicites. Cette trame immatérielle fonde notre corpus, notre « texte » d’étude étant ainsi constitué de cet entrelacs de propositions artistiques. Ce questionnement convoque plusieurs perspectives que l’on peut distinguer quoiqu’elles soient interdépendantes. La première considère l’inscription de cette œuvre dans une époque déterminée et sa revendication de contemporanéité. La deuxième prend appui sur une réflexion sur les supports, les médiums de la production artistique de Jean-Philippe Toussaint, leurs spécificités, leurs liens participant tout autant de la complémentarité que de la tension. La troisième se réfère à la dimension réflexive de cette œuvre composite qui se donne à voir, qui « s’expose » dans tous les sens du terme, au point de prendre le risque du dévoilement. Notre étude se centre sur une période, 2000-2015, de maturité créative inaugurée par les premières expositions de photographies (Chapitre XII, Bruxelles ; CASO, Osaka), la rédaction de l’opus I, Faire l’amour (publié en 2002) du cycle M.M.M.M. et la publication du recueil Autoportrait (A l’étranger) qui rassemble des textes rédigés à la fin des années 90. Les réalisations artistiques toussaintiennes des années 2000-2015, fictions, essais, catalogue, vidéos, films, expositions, installations, quoique variées établissent toutes une relation avec ses propres écrits, le livre et la lecture ; elles témoignent d’une homogénéité qui repose sur l’omniprésence de l’image scripturale et visuelle, ou plus exactement DES images, qui se superposent, se complètent, s’annihilent, dans des mouvements de synergies comme de conflits. Aussi ces images sont-elles au cœur de notre questionnement qui éclaire la poétique de Toussaint telle qu’elle se manifeste dans ses réalisations et s’exprime dans ses propos. La primauté du regard est ainsi une constante (« La main et le regard, il n’est jamais question que de cela dans la vie, en amour, en art. » La Vérité sur Marie, 2009) qui circule dans toute l’œuvre. Le regard est central car voir, c’est aussi, pour Jean-Philippe Toussaint, penser et rêver, l’image participant tour à tour, et parfois simultanément, de la perception, de l’analyse et du fantasmeThis research work questions the ensemble of the artistic activities conducted by Jean-Philippe Toussaint at the dawn of the 21st century. These activities determine a corpus composed of different publications, exhibitions and installations which forge implicit and explicit links in between themselves. This immaterial framework serves as the basis for our corpus, our study “text” thus being constituted of this interlacing of artistic propositions. This questioning convokes several perspectives that can be distinguished even though they are interdependent. The first perspective considers the place of this work in a defined period and its claim of contemporaneity. The second leans on a reflection on the supports, the media of Jean-Philippe Toussaint’s artistic production, their specific features, their links pertaining equally to complementarity and to tension. The third one refers to the reflective dimension of this composite work displaying itself, “exposing” itself in every sense of the word, to the extent of taking the risk of unveiling. Our work centers on a period, 2000-2015, of creative maturity inaugurated by the first photographs exhibitions (Chapter XII, Brussels; CASO, Osaka), the writing of the opus I, Faire l’amour (published in 2002) of the cycle M.M.M.M. and the publication of the collection Autoportrait (A l’étranger) gathering texts written at the end of the nineties. The toussaintian realizations of the years 2000-2015, fictions, essays, catalogue, videos, films, exhibitions, installations, although varied, all establish a relationship with his own writings, the book and the reading; they demonstrate a homogeneity based on the omnipresence of the scriptural and visual picture, or more precisely PICTURES, which are superimposed on each other, complete each other, annihilate each other, in movements of synergies as well as conflicts. Therefore, these pictures are in the heart of our questioning which sheds light on Toussaint’s poetics as the latter manifest themselves in his productions and are expressed in his words. The pre-eminence of the gaze is thus a permanent feature (« La main et le regard, il n’est jamais question que de cela dans la vie, en amour, en art. » La Vérité sur Marie, 2009) which circulates throughout the entire work. The gaze is central because to see is also, according to Jean-Philippe Toussaint, to think and to dream, the picture pertaining, in turns, and sometimes simultaneously, to perception, analysis and fantasy
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Jennings, Joshua Kerby. "On Making a Difference: How Photography and Narrative Produce the Short-Term Missions Experience." UKnowledge, 2017. http://uknowledge.uky.edu/cld_etds/32.
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Short-term missions participants encounter difference in purportedly captivating ways. Current research, however, indicates the practice does not lead to long-lasting, positive change. Brian M. Howell (2012) argues the short-term missions experience is confined to the limitations of the short-term missions narrative. People who engage in short-term missions build assumptions, seek experiences, understand difference, and convey meaning, as a result of this narrative. The process of telling and retelling travel stories is integral to the short-term missions experience. Drawing upon literature on tourism, narrative, development, and photography, this study intends to evaluate the inefficacy of short-term missions through the stories which produce and are produced by photography. Through storytelling and photography from 21 short-term missions participants who have served in Ouanaminthe, Haiti, this project deconstructs the short-term missions narrative to understand, what is the relationship between the use of photography and the short-term missions experience? The results indicate a unique relationship between people, photography, and experiences within the framework of short-term missions.
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Zogovska, Elena. "L'enseignement du Français Langue Étrangère en Macédoine à partir de textes littéraires des XIXe et XXe siècles sur Paris." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA045.
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Le texte littéraire avec sa puissance artistique, historique, linguistique, culturelle et sociologique est un support privilégié pour la classe de Français Langue Étrangère. S’appuyer sur la littérature pour enseigner différents aspects de la langue et de la culture françaises – telle est l’idée principale de notre travail de recherche. Mais quel type de texte littéraire choisir ? Paris – la capitale mondiale de l’art et de la culture, Paris – la patrie des écrivains, des poètes et des artistes, Paris – l’endroit le plus visité sur Terre, Paris – le nid des amoureux et des romantiques, Paris rêvé, Paris adoré, Paris fantasmé : avec cette série d’attributs, la Ville-lumière inspirait hier, et inspire encore aujourd’hui, les écrivains et les poètes des quatre coins du monde. C’est un Paris magique, poétique et festif, mais aussi un Paris infortuné et malheureux qui les inspire, les fascine et les pousse à écrire. Un héritage littéraire exceptionnel s’est donc constitué au fil des siècles. Dans cette optique, un corpus littéraire des XIXe et XXe siècles sur Paris, très varié, composé de romans, de chroniques, de recueils de poèmes et de pièces de théâtre, est au cœur de notre thèse. Trois dimensions sont évoquées : linguistique, littéraire et culturelle. L’étude de plusieurs éléments propres à la langue, puis la découverte des spécificités des genres littéraires français, ainsi que la mise en perspective de nombreuses questions relatives à Paris et à ses habitants – tout cela constitue les enjeux de notre travail. Nous démontrons aussi que la littérature ne s’enferme pas sur elle-même, mais qu’elle s’ouvre, va plus loin et embrasse les autres arts tels que la peinture, la photographie et le cinéma. La littérature perce ainsi de nouvelles voies vers la culture française et rend l’enseignement/apprentissage du FLE encore plus dynamique et plus créatif. Différentes approches et techniques sont mises en œuvre afin que ce bagage linguistique, littéraire et culturel soit acquis de la manière la plus efficace possible par les apprenants de FLEThe literary text with his artistic, historical, linguistic, cultural and sociological power is privileged medium for the class of the French as a Foreign Language. Relying on the literature to teach various aspects of the French language and culture is the main idea of this research. But what type of literary text to choose? Paris – the world capital of art and culture, the home of writers, poets and artists, the most visited place in Earth, the nest of lovers and romantics, Paris dreamed, Paris loved, Paris fantasized: with this series of attributes, the City of light in the past has been and today still is an inspiration for writers and poets from around the world. It is magical Paris, poetic and festive, but also Paris unfortunate and unhappy that inspires, fascinates and drives them to write. An exceptional literary heritage has therefore built up over the centuries. In this context, a literary corpus of nineteenth and twentieth centuries in Paris - very diverse, consisting of novels, chronicles, collections of poems and plays - is at the heart of this thesis. Three dimensions are mentioned: linguistic, literary and cultural. The study of many facts about the language, then the discovery of the specificities of French literary genres, as well as putting into perspective numerous questions on Paris and his inhabitants – all these are topics of my work. I also demonstrate that the literature does not lock in on itself, but opens, goes further and embraces the other arts such as painting, photography and cinema. The literature pierces a new path to French culture and makes teaching/learning of the French as a Foreign Language more dynamic and more creative. Different approaches and techniques are implemented so that linguistic, literary and cultural skills are acquired in the most efficient way possible by the learners of French as a Foreign Language
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Dubravka, Lazić. "Neorealizam u italijanskom filmu i fotografiji - etiologija, interpozicija i specifičnosti dela." Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94769&source=NDLTD&language=en.
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Tema ovog rada bazira se na neorealističkom pokretu i istraživanju uzročnika koji su doveli do njegovog nastanka, specifičnostima koje on, kao intenzivan umetnički pokret, poseduje i korelaciji između dela koje čine njegovo jezgro. Poseban osvrt načinjen je ka analizi odnosa i interpoziciji fotografske i filmske umetnosti kao vizuelnim, ontološki bliskim, medijima.Istraživanje fenomena italijanskog neorealizma, ukazalo je na ogromni izvor raznovrsnog sadržaja koji se mogu istraživati i analizirati na više različitih principa. Stoga su i ciljevi istraživanja postavljeni prema potrebama pitanja pozicioniranja neorealističkog pokreta u istorijski i umetnički kontekst: ispitivanje uzročnika koji su doveli do stvaranja i egzistiranja neorealističkog pokreta, istorijskih činilaca, izvora i prethodnicama u literaturi, štampanim medijima i filmskoj i fotografskoj umetnosti. Za polaznu tačku istraživanja, termin neorealizam postavljen je u svoj istorijski kontekst da bi se postavila tačka "oslonca" za dalje analize, na koju su se kasnije mogli bazirati svi zaključci izvedeni iz pojedinih oblasti: neorealizam u filmu i fotografiji, internacionalni uticaj na autore neorealizma filma i fotografije, socijalno-istorijski uticaj na tlu Italije u periodu pre, tokom i neposredno nakon trajanja neorealističkog pokreta, kao i analiza filmskih i fotografskih neorealističkih dela.Svaka oblast istraživanja pružila je određene činjenice i saznanja koja su, postavljena u kontekst teme ovog rada, omogućila sagledavanje jedne nove, šire slike o neorealističkom pokretu, zasnovanom ne samo na postulatima uslovljenim i oblikovanim socijalno-fizičkim uslovima, kao primarnim pri nastanku neorealizma, nego uzima u obzir i sve ostale činioce i pozicionira ih u istu ravan sa gore navedenim, proširujući tako opšti pogled na dela nastala u ovom periodu. Sledeći tragove istraživanja koji su ukazivali na nove bitne elemente, stvorila se šira mreža relacija i informacija koja je uputila na dublju povezanost uzročnika neorealizma. Prožimanje istorijskih činjenica, dokazane relacije, poznanstva i saradnje autora, uticaj književnosti, filmske i fotografske umetnosti, vodile su do daljih zaključaka koji su se udaljavali od ustaljene teze o neorealizmu kao pokretu koji je eksplodirao stvaralačkom energijom i kreativnim izrazom, kao posledica terora fašističke diktature tokom Drugog svetskog rata, a potom oslobođenja, i sirovog izraza uslovljenog nemaštinom i oskudicom materijala, koji su diktirali formu i teksturu filmske i fotografske neorealističke forme.Prilikom sumiranja činjenica koje su se izdvajale kao krucijalni delovi analiza, pokazalo se da se mnoge od njih sistematski ponavljaju i potvrđuju svoje prisustvo u ostalim kategorijama, kao i to da svaka od njih ima korene koji se prepliću i time ukazuju i na dublju povezanost u istorijskom kontekstu. Ovakav "bihejviorizam" podataka postepeno je doveo do realizacije zaključka, postavljenog ne samo na osnovu uporedne gramatike ovih podataka i kreiranja lingvistike filmskog i fotografskog neorealizma nego i na uporednoj analizi najkarakterističnijih dela filmskog i fotografskog neorealizma.Ukratko, rezultati sumirani u formi zaključka, donose nov osvrt na umetnost neorealizma, pozicioniran na uporednoj analizi gore pomenutih činilaca i utemeljenog na faktivnim tvrdnjama i zaključcima, kao i na subjektivnom doživljaju i analizi dela. Neorealizam se, nakon ovakve analize, pojavio u svetlu umetničkog pokreta koji je svoje korene imao u periodu koji mu je neposredno prethodio, ali i u socijalno-istorijskim uticajima na tlu Italije, umetnostima filma, fotografije i književnosti, štampanim i vizuelnim medijima u tridesetim i četrdesetim godinama dvadesetog veka, kao i specifičnom italijanskom nacionalnom duhu koji je neorealizmom odgovorio na specifične teške uslove u državi u ratnom i posleratnom periodu. Pored toga, dokazana je veza između fotografske i filmske umetnosti, koja zalazi i izvan granica teoretske povezanosti samih tehnoloških karakteristika medija. Ove dve umetničke discipline dokazano su egzistirale kao samosvesne oblasti (i više od fromalne povezanosti u doba neorealizma), ali sa velikom i snažnom vezom koja je obostrano uticala na njih putem saradnje autora, preplitanja uticaja, interakcije medija.The subject matter of the doctoral thesis is the origin, international influence and mutual factor of the cinematic and photographic neorealist art.
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Naples, Jessica R. "Goose Butt, Grandma Glasses, And Other Ordinary Things." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405594537.
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Rich, Katherine Ann. "Between the Camera and the Gun: The Problem of Epistemic Violence in Their Eyes Were Watching God." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3008.
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Since the 75th anniversary of the 1928 Okeechobee Hurricane in 2003, a growing number of journalists and historians writing about the disaster have incorporated Zora Neale Hurston's 1937 novel Their Eyes Were Watching God as part of the official historical record of the hurricane. These writers often border on depicting Their Eyes as the authentic experience of black migrant workers impacted by the hurricane and subsequent flood. Within the novel itself, however, Hurston theorizes on the potential epistemic violence that occurs when a piece of evidence—a photograph, fallen body, or verbal artifact—is used to judge a person. Without a person's ability to use self-representation to give an "understandin'" (7) to go along with the evidence, snapshots or textual evidence threaten to violently separate people from their prior knowledge of themselves. By offering the historical context of photographs of African Americans in the Post-Reconstruction South, I argue that Janie experiences this epistemic violence as a young girl when seeing a photograph of herself initiates her into the racial hierarchy of the South. A few decades later, while on trial for shooting her husband Tea Cake, Janie again faces epistemic violence when the evidence of Tea Cake's body is used to judge her and her marriage; however, by giving an understandin' to go along with the evidence through self-representation, Janie is able to clarify that which other forms of evidence distort and is able to go free. Modern texts appropriating Their Eyes run the risk of enacting epistemic violence on the victims of the hurricane, the novel, and history itself when they present the novel as the complete or authentic perspective of the migrant workers in the hurricane. By properly situating the novel as a historical text that offers a particular narrative of the hurricane rather than the complete or authentic experience of the victims, modern writers can honor Hurston's literary achievement without robbing the actual victims of the hurricane of their voice.
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Munro, Jenny. "Riffaterrean ungrammaticality and Ricoeurian discourse as performance in the films and collaborations of Claire Denis." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5610/.
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This thesis seeks to interrogate the presence and purposes of intertextuality in the work of contemporary French filmmaker Claire Denis, with specific focus on Michael Riffaterre’s theories of ungrammaticality, and Paul Ricoeur’s work on discourse as event or performance. Neither Riffaterre nor Ricoeur’s theories of intertextuality have been engaged in much depth in the study of cinema. Denis’s œuvre, which is composed mainly of feature films, but also includes short films, documentaries, music videos and collaborations on exhibitions and live concerts, is vastly intertextual, engaging with other moving image media, music, visual art, philosophy, poetry and literature, and media coverage of real events. In current criticism, Denis and many of her fellow contemporary French female filmmakers are more commonly referred to through a gender-neutral prism of auteurism rather than with reference to their gender, which may be read as a means for a female director to disengage with any categorisation of her work as resolutely female-centric. The auteur label is problematic, however, as it tends to suggest a state of creative isolation and supremacy, where the author’s recognizable creative voice as it appears throughout their work is more important than any other element of a film. This description sits particularly uneasily with the work of Denis, for whom collaboration and intertextual engagement with other sources is vital; this is evident in Denis’s consistent highlighting of the importance of her regular collaborators’ contributions to her work, and the texts with which her films engage, in interviews. Interviews with Denis, therefore, will form as important an element of my primary research material as her corpus of films and other works. In the introduction to this thesis, I will highlight some of the main themes and concerns of Denis’s work, namely foreignness, intrusion and the body, and introduce the corpus of critical work which has explored them. Such themes will certainly arise in my work, but will always be explored through the foregrounding of Riffaterre and Ricoeur’s theories of intertextuality. I will then proceed to briefly examine how Denis may be read as an intertextual auteur, though the phrase may as yet seem something of an oxymoron. The main body of the thesis thereafter will be used to search Denis’s œuvre for intertexts, aligning specific films and other creative endeavours together wherever they share particular themes or may be read productively through a particular theory of intertextuality. My aim, eventually, will be to examine how this intertextual richness may lead to a re-evaluation of Denis not as an auteur in the conventional sense, but as one for whom collaboration and textual openness are crucial.
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Leroy, Marie. "Du plurilinguisme à l'école au Sud-Tyrol : minorités linguistiques, représentations sociolinguistiques, dynamiques identitaires et pratiques éducatives en milieu plurilingue." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2021/document.
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S’inscrivant dans une réflexion sociolinguistique et didactique, cette thèse propose de sonder les appropriations langagières et les imaginaires linguistiques de collégien-ne-s de la ville de Bozen-Bolzano dans le Sud- Tyrol/Haut-Adige. Dans cette Province italienne officiellement multilingue qui bénéficie d’un Statut de protection de la minorité germanophone, le vivre-ensemble est fortement marqué par la séparation des écoles sur une base ethnolinguistique. La présence relativement récente de migrants transnationaux invite à porter un regard renouvelé sur les dynamiques d’identification entre « autochtones » et « allochtones » et, plus particulièrement, à en considérer les implications au niveau éducatif. En donnant des appareils photos jetables à des collégien-nes de la ville de Bozen-Bolzano avec la mission de photographier « les langues du quartier » pour en faire une exposition, il s’agit d’interroger les façons dont, dans une ville qui semble incarner une certaine hybridité, des jeunes interprètent la pluralité qui les environneThis thesis proposes to investigate the linguistic appropriations and the conceptualizations of language of secondary school students in the town of Bozen-Bolzano in South Tyrol / Alto Adige, as a sociolinguistic and didactic reflection. In this officially multilingual Italian province, which enjoys a status of protection of the German-speaking minority, living together is strongly marked by the separation of schools on an ethnolinguistic basis. The relatively recent presence of transnational migrants calls for a renewed look at the dynamics of identification between "indigenous" and "non-indigeneous" and, more particularly, its implications for education. By giving disposable cameras to secondary school students in the town of Bozen-Bolzano, a city that seems to embody a certain hybridism, with the mission of photographing "the languages of the neighborhood" to create an exhibition, the goal is to investigate the ways young people interpret the plurality that surrounds them