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Adetomokun, Idowu Jacob. "Exploring semiotic remediation in performances of stand-up comedians in post- apartheid South Africa and post-colonial Nigeria." University of the Western Cape, 2018. http://hdl.handle.net/11394/6684.
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Philosophiae Doctor - PhDThis research has been conducted by focusing on the trajectories of semiotic ensembles from various contexts that stand-up comedians exploited for aesthetic and communicative purposes. I apply the social semiotic theory of multimodality (Kress and van Leeuwen, 2001, 2006), and the notions of semiotic remediation (Bolter and Grusin, 1996, 2000) and resemiotization (Iedema, 2003) to selected audiovisual recordings performances of Trevor Noah and Loyiso Gola from South Africa; and Atunyota Akporobomeriere (Ali Baba) and Bright Okpocha (Basket Mouth) from Nigeria. I explore the trajectories of semiotic resources that the comedians used across modes, contexts and practices. I also trace the translation and interpretation of socio-cultural and political materials by South African and Nigerian stand-up comedians’ performances. The idea is also to examine the extent to which the socio-cultural and political contexts of both countries have differential effects on the choices in the semiotic resources used in the reconstruction of meanings, including cross socio-cultural taboos. The study reveals that combinations of various semiotic materials ranging from political, sociocultural, religious and personal lifestyles are remediated (repurposed) for comic and aesthetic effects. This involves translating and re-interpreting the semiotic resources across contexts and practices. In this regard, the study showed how the artists rework verbal language, images, socio-political discourses and other semiotic material for new meanings. It also reveals that although the choices of materials are similar, there is a tendency of localizing semiotic resources to particular localities and audiences, so that each artist’s performance comes out as unique to the person. The study concludes that language alone is not at the core of communication as other semiotic modes (in addition to languages) are integrated interweaving resources to make meaning. The direction of the modes or resources is multidimensional. All the spoken texts, all the non-linguistic modes: gestures, stance, movements, running on stage, postures, mimicking and others, perform vital roles to recontextualize meanings in stand-up comedy performance. Therefore, the study opens up new perspectives on social semiotic approaches to multimodality, as well as on language social semiotic and to theory and media studies. The contribution also answers the call to expand the understanding and research on the theory of ‘multimodality’ and the various concepts such as semiotic remediation and resemiotization associated with it.
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David, Mattsson. "Att göra det jag hör : En observationsstudie om att lära sig på gehör." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-64763.
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Syftet med studien är att identifiera och beskriva tillvägagångssätt för att via gehör lära sig spela låtar ur en tradition baserad på västerländsk nutida musik och improvisationsmusik. Studiens frågeställningar handlar hur tillvägagångssätt designas och vilka semiotiska resurser som används för att lära sig en låt på gehör med fokus på ackord, melodi och solo samt hur transformationen från inspelad låt till eget spel sker. Den valda teoretiska utgångspunkten utgörs av ett designteoretiskt perspektiv på lärande och används för att analysera och synliggöra mitt lärande på gehör. För att dokumentera min egen gestaltande lärandeprocess använder jag videoinspelning och loggbok som metoder. Resultatdelen inleds med en beskrivning av min övergripande lärandeprocess. Sedan presenteras de semiotiska resurser jag har använt och hur de används. Dessa presenteras i teman som berör processen från inspelning till röst till spel, från inspelning direkt till spel, från inspelning till skrift till spel, från inspelning till spel via teknisk hjälp och till sist från inspelning till visuella bilder till spel. Slutligen knyter jag resultatet till tidigare forskning och litteratur genom att diskutera mitt lärande utifrån teman som berör förutsättningar för lärande på gehör, skapandet och användandet av minnen.The purpose with this study is to identify and explain ways to learn tunes from a tradition of western contemporary music and improvisational music by ear. The questions in the study are about how ways are designed and what semiotic modes are used to learn a tune with a focus on chords, melody and solo and also how the transformation from recording to playing happens. The chosen theoretical point of departure is a design theoretic perspective on learning and is used to analyse and make the learning process by ear visible. To document my own formative learning process I used video recording and logbook as methods. The result begins with an overall explanation about my learning process. After that the semiotic modes I used is presented and how they where used. All this I presented in themes witch all has to do with the process from recording to voice play, from recording directly to play, from recording to writing to play, from recording to play with technical help and at last from recording to visual pictures to play. At the end, I connect the results to previous research and literature in a discussion with two themes on conditions for learning by ear and the making and using of memories.
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Ödman, Sofia. "Jag lär mig mer när jag får skådespela och se bilder och inte bara läsa : En undersökning av design för och i lärande i läromedlet Bibeläventyret utifrån ett multimodalt perspektiv." Thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-139742.
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Den här studien undersöker utifrån ett multimodalt, designteoretiskt perspektiv den didaktiska designen i läromedlet Bibeläventyret Gamla testamentet. Syftet med studien är att visa de teckensystem som används i designen för lärande i Bibeläventyret Gamla testamentet och den mening som deras semiotiska resurser erbjuder i lärandet. Dessutom tar studien upp det engagemang som eleverna visar, som ett tecken på transformation. Med transformation menas hur eleverna börjar bearbeta den erbjudna meningen och formar den till kunskap. Undersökningen är genomförd i en åk 4 på en svensk grundskola med hjälp av videoobservationer, lektionsanteckningar samt själva läromedlets utrustning. Resultatet blev att Bibeläventyret Gamlas testamentet fungerar multimodalt med många olika teckensystem och artefakter, där vissa är bärande och andra stöttande. Klassrummets spatiala möjligheter, instruktörens muntliga berättande med stöd av intonation, gester, blickar, kroppsspråk och förflyttningar, samt elevernas deltagande i meningsskapandet används om vartannat. Studien tyder på att den multimodala designen erbjuder stor mening och i det engagemang som eleverna visar finns en början till transformation och formation till ny kunskap. Tidigare forskning har kommit fram till att det finns signifikanta tecken på lärande i multimodala miljöer, ofta med inslag av digitala medier. Där bidrar studien till att visa att många fler teckensystem än vad som ofta används multimodalt kan kombineras och utöka möjligheten till lärande, särskilt i undervisningen av Bibeläventyret Gamla testamentet.This study analyses, from a multimodal, design theoretical perspective, the design for learning in the educational material Bibeläventyret Gamla testamentet (The Bible Adventure – The Old Testament). The aim is to display the modes that are used in the design for learning in Bibeläventyret Gamla testamentet and the meaning that is offered in learning by semiotic resources of these modes. The study also presents the involvement that the students show, as a sign of transformation. Transformation refers to how the students start to process offered meaning and form it into knowledge. The study was conducted in 4th grade classes in a Swedish compulsory school and is based on video observations of two hours of teaching, field notes and the analysis of the teaching material. The study shows that teaching Bibeläventyret Gamla testamentet is multimodally conducted with many different modes and artefacts, where some bear more meaning and others are more supportive. The spatial opportunities of the classroom, the oral narrative of the instructor, including prosody in talk, body movements, gesture and gaze, as well as the students’ involvement in meaning making are used variously. The study shows that the multimodal design offers a significant meaning for learning and the involvement of the students shows how they make an initial transformation and formation of new knowledge. Previous research points to major signs of learning in multimodal environments, where digital media is often included. This study contributes to previous research in showing that many more modes can be used and combined multimodally at the same time compared to what is usually done and so extend the learning possibility particularly in teaching Bibeläventyret Gamla testamentet.
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Mohammadzadeh, Darodi Maryam. "Models of colour semiotics." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/4150/.
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This thesis is concerned with the relationship between colour and certain bi-polar characteristics. This topic has previously been studied through highly controlled laboratory-based experiments but this thesis starts from the question of whether experiments conducted in the laboratory (which are necessarily constrained to have low numbers of participants) can ever hope to capture the full complexity of the relationships being studied, since there are likely to be strong cultural and regional differences. The key advance in this work therefore was to explore the use of a web-based experiment for collecting data on a large scale and from all over the world. A laboratory-based experiment to explore colour semiotics was carried out and broadly supports the earlier work carried out by Ou et al. A novel paradigm for carrying out colour semiotic experiments based on a large-scale internet presentation and distributed over large numbers of participants (over 2000 from 58 countries) was then conceived and implemented. Comparison with the laboratory-based experiment broadly validated the use of this new paradigm. The large amount of data collected allowed an analysis of gender and cultural differences to be carried out and it was shown that cultural and age may be significant factors but that gender is probably not. The thesis has made a contribution in terms of collecting new data, generating new models, and testing a web-based paradigm for carrying out colour-based experiments. One application of the colour-semiotic models that has been developed at the end of this thesis is in the design process and a potential new software tool that could build a bridge between science and design has been considered.
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LEITE, JAIR CAVALCANTI. "MODELS AND FORMALISMS FOR THE SEMIOTIC ENGINEERING OF USER INTERFACES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 1998. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=1809@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORUNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE
Um dos requisitos para a usabilidade de um sistema interativo é que os usuários adquiram o conhecimento, denominado de modelo de usabilidade, sobre como aplicar as soluções-em-potencial concebidas pelo designer às tarefas do seu domínio. A abordagem da Engenharia Semiótica apresenta uma perspectiva na qual um sistema interativo é um artefato de metacomunicação através do qual o designer envia uma mensagem que comunica o modelo de usabilidade para o usuário. Partindo desta perspectiva e baseado nos conceitos de semiótica das teorias de Charles S. Peirce e de Umberto Eco desenvolvemos modelos teóricos que descrevem o modelo de usabilidade como sendo o conteúdo da mensagem do designer, a interface de usuário como a sua expressão e o design como sendo uma atividade de produção de signos apoiada por um sistema semiótico, composto por uma linguagem de especificação e por regras que correlacionam as mensagens especificadas aos widgets dos principais padrões e ferramentas de interfaces de usuário.
Interactive systems usability could be enhanced if users learn all the knowledge - the usabilty model - that capability them in applying designer`s potential solutions to domain tasks. The Semiotic Engineering approach perceives interactive systems as metacommunication artifacts that send a message from designer to users whose expression is the lower-level messages exchanged between user and system and whose content is the usability model. Starting from this perspective and based on semiotic theory concepts from Charles S. Peirce and Umberto Eco we present conceptual models to the interface as the expression and to the usability model as the content of designer`s message. We also develop a semiotic system to support user interface design. The system is composed by a specification language and rules that maps specified messagens to user interface widgets. Our emphasis here is not in aesthetics aspects of user interfaces, but in the interactive and performing nature of the interface message as it is carried throughout the computational medium.
Uno de los requisitos para el uso de un sistema interactivo es que los usuarios adquieran conocimiento (denominado de modelo de usabilidad) sobre como aplicar las soluciones-en-potencial concebidas por el diseñador a las tareas de su dominio. El abordaje de la Ingeniería Semiótica presenta define un sistema interactivo como un artefacto de metacomunicación a través del cual el diseñador envía un mensaje que comunica el modelo de usabilidad para el usuario. Partiendo de esta perspectiva y considerando los conceptos de semiótica de las teorías de Charles S. Peirce y de Umberto Eco, desarrollamos modelos teóricos que describen el modelo de usabilidad como el contenido del mensaje del diseñador; la interfaz de usuario como su expresión y el diseño como una actividad de producción de signos apoyada por un sistema semiótico, compuesto por un lenguaje de especificación y por reglas que correlacionan los mensajes especificados a los widgets de los principales padrones y herramientas de interfaces de usuario.
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PAULA, MAIRA GRECO DE. "MODEL-BASED DESIGN OF HUMAN-COMPUTER INTERACTION GROUNDED ON SEMIOTIC ENGINEERING: AN INTERACTION MODEL." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4107@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORDevido à popularização dos computadores pessoais, torna-se cada vez mais importante construir interfaces de usuário com alta usabilidade, levando em consideração as características, preferências e necessidades dos usuários. Diversos modelos têm sido propostos para lidar com a complexidade do projeto de interação humano-computador (IHC). No entanto, a maioria destes modelos englobam elementos que deveriam ser contemplados por modelos distintos. Além disto, geralmente baseados em teorias cognitivas, eles se concentram no indivíduo interagindo com uma aplicação, sem explorar o fato de que a aplicação é produto de um processo racional de tomadas de decisão conduzido por um projetista. Esta lacuna é preenchida pela Engenharia Semiótica, uma teoria de IHC que considera a interface como uma mensagem enviada pelo projetista aos usuários. Esta mensagem representa a solução do projetista ao que ele acredita que sejam as necessidades e preferências dos usuários. Nesta mensagem, ele diz aos usuários o que tinha em mente ao conceber a aplicação. No âmbito desta teoria, este trabalho estende a representação de cenários, adapta um modelo de tarefas existente e propõe um modelo de interação. O objetivo é que estas representações sirvam como ferramentas epistêmicas que apóiem a reflexão do projetista sobre a solução interativa sendo concebida. Foi conduzido um estudo de caso para obter indícios sobre o uso dos modelos de tarefas e interação propostos, em comparação com a abordagem CTT, amplamente difundida em IHC.
Due to the propagation of personal computers, it is increasingly important to build highly usable user interfaces, taking into account users characteristics, preferences, and needs. Diverse models have been proposed to cope with the complexity of human-computer interaction (HCI) design. However, most of them deal at once with elements that should be addressed by distinct models. Moreover, many of these models are based on cognitive theories, which focus mainly on the individual interacting with an application, without exploring the fact that an application is the product of a rational decision-making process carried out by a designer. This gap is dealt with by Semiotic Engineering, a theory of HCI which views the interface as a designer-to-users message, representing the designers solution to what he believes are the users problems, needs, and preferences. In this message, he is telling users, directly or indirectly, what he had in mind when he conceived the application. Within Semiotic Engineering, this work extends scenarios, adapts an existing task model and builds a model which treats interaction as conversation. Our goal is to conceive models and representations that serve, each under a clear perspective, as epistemic tools that support the designers reflection about the interactive solution being conceived. A small case study was conducted to evaluate the quality of an interactive solution designed using the proposed task and interaction models, in comparison with CTT, a widely used task model.
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Yoon, Jiyoung. "A conceptual model for city branding based on semiotics." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5361.
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Currently change in cities is accelerating intricately and diversely because of technological advances, information floods, increased openness, and the rising standard of living. While city development depended on the activation of urban marketing, a city of importance and recognition is highlighted as one brand. To increase city brand value, it has become necessary to study the brand equity held by cities and to develop a strategy based on a new approach. The main purpose of this thesis is to investigate how a city brand can be developed and through which kind of method. Therefore, the phenomenon of a city was investigated and analysed based on semiotics underpinning the communication of all phenomenon. The purpose of this research was to suggest a new perspective for city branding strategy and to develop a conceptual model for a city branding strategy that is an improvement on the strategies being used by industry and in academia. The proposed perspective is based on semiotics which is the analysis of the interaction between general objects and cultural phenomena. The conceptual model takes elements constituting a city and identifies the core categories comprising branding. From this, it is clear that sustainable city branding is possible, as city assets are developed and brand value is formed. The conceptual model of the city branding process has been positively evaluated through three case studies and five in-depth interviews with experts. The proposed model provides the basis for a city research plan and a tool for the management of the city branding process. The conceptual model offers several advantages as shown below:1. A holistic view of city branding strategy development; 2. A new perspective of city interpretation through semiotics; 3. An understanding of the interaction between city users (residents and visitors) and city with a cognition process and associated image; 4. A clarification of the roles of all component elements within the city branding strategy; 5. An integration of the component elements and core categories for city branding; 6. A new approach to city branding strategy through the conceptual model. Therefore, this research presents a robust theoretical basis for developing a new city branding strategy through the conceptual model.
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Hargood, Charlie. "Semiotic term expansion as the basis for thematic models in narrative systems." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/273228/.
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Narratives are a method of communicating information that comes naturally to people and is present in much of our digital and non-digital lives. While work has been undertaken investigating the nature of plot and content within narrative systems little has been done to model subtext or themes. In this thesis a machine understandable thematic model is presented for representing themes within narrative. Each instance of this model forms a definition of a theme and how it may be deconstructed into other thematic elements and their related features. The model is based on semiotic term expansion where terms may be shown to denote motifs which in turn connote themes. An authoring method has been developed to allow for instances of the model to be created. The effectiveness of this approach is demonstrated in four experiments presented within this thesis centred around the concept of creating thematic definitions and generating thematically relevant images. The first experiment explored a semiotic term expansion method for creating thematic definitions in terms of the model and a guide to support authors in doing so. This demonstrated that, though further support for authors is needed, creating valid definitions of themes was possible using the method. The following two experiments used a system called the Thematic Montage Builder; a prototype using definitions of the model to create themed photo montages. The first of these experiments compares the ability of this system to generate montages relevant to specific titles containing themes to Flickr keyword searches while the second compares this system to a term expansion system based on co-occurrence. In both cases the TMB generates montages that are judged by participants to better represent the theme in question. In the final experiment the effect of thematic emphasis on narrative cohesion is investigated. In this experiment a set of variables for measuring narrative cohesion are identified and the impact of using themed illustrations from the TMB on short stories is measured. The illustrations reduced the thematic noise of the short stories and further analysis shows a correlation between thematic cohesion and the perceived `logical sense' and `genre cohesion' of the narratives. This work shows that better machine understandable models of narrative can benefit from an understanding of themes, and that semiotic term expansion may be used to build successful thematic models.
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McGovern, Sean William. "Semiosis in Japanese culture : sign-making practices across modes." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10006508/.
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Condon, Chris. "A semiotic approach to the use of metaphor in human-computer interfaces." Thesis, Brunel University, 1999. http://bura.brunel.ac.uk/handle/2438/4800.
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Although metaphors are common in computing, particularly in human-computer interfaces, opinion is divided on their usefulness to users and little evidence is available to help the designer in choosing or implementing them. Effective use of metaphors depends on understanding their role in the computer interface, which in tum means building a model of the metaphor process. This thesis examines some of the approaches which might be taken in constructing such a model before choosing one and testing its applicability to interface design. Earlier research into interface metaphors used experimental psychology techniques which proved useful in showing the benefits or drawbacks of specific metaphors, but did not give a general model of the metaphor process. A cognitive approach based on mental models has proved more successful in offering an overall model of the process, although this thesis questions whether the researchers tested it adequately. Other approaches which have examined the metaphor process (though not in the context of human-computer interaction) have come from linguistic fields, most notably semiotics, which extends linguistics to non-verbal communication and thus could cover graphical user interfaces (GUls). The main work described in this thesis was the construction of a semiotic model of human-computer interaction. The basic principle of this is that even the simplest element of the user interface will signify many simultaneous meanings to the user. Before building the model, a set of assertions and questions was developed to check the validity of the principles on which the model was based. Each of these was then tested by a technique appropriate to the type of issue raised. Rhetorical analysis was used to establish that metaphor is commonplace in command-line languages, in addition to its more obvious use in GUIs. A simple semiotic analysis, or deconstruction, of the Macintosh user interface was then used to establish the validity of viewing user interfaces as semiotic systems. Finally, an experiment was carried out to test a mental model approach proposed by previous researchers. By extending their original experiment to more realistically complex interfaces and tasks and using a more typical user population, it was shown that users do not always develop mental models of the type proposed in the original research. The experiment also provided evidence to support the existence of multiple layers of signification. Based on the results of the preliminary studies, a simple means of testing the semiotic model's relevance to interface design was developed, using an interview technique. The proposed interview technique was then used to question two groups of users about a simple interface element. Two independent researchers then carried out a content analysis of the responses. The mean number of significations in each interview, as categorised by the researchers, was 15. The levels of signification were rapidly revealed, with the mean time for each interview being under two minutes, providing effective evidence that interfaces signify many meanings to users, a substantial number of which are easily retrievable. It is proposed that the interview technique could provide a practical and valuable tool for systems analysis and interface designers. Finally, areas for further research are proposed, in particular to ascertain how the model and the interview technique could be integrated with other design methods.
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Schreiter, Robert J. "Identity and Communication between Locality/Contextuality and Globality/Universality - A Semiotic-Linguistic Model." Bulletin of Ecumenical Theology, 1997. http://digital.library.duq.edu/u?/bet,610.
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Robinson, Andrew John. "A semiotic model of Trinity : God, evolution and the philosophy of Charles Sanders Peirce." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273016.
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Brock, Karla. "The sign models of Sassure and Pierce and the glossematic model of Hjelmslev : an analysis of the Vietnam Veteran's Memorial /." Thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-12162009-020326/.
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Carberry, Helen. "Semiotic analysis of clinical chemistry: for "knowledge work" in the medical sciences." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15809/1/Helen_Carberry_Thesis.pdf.
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In this thesis a socio-cultural perspective of medical science education is adopted to argue the position that undergraduate medical scientists must be enculturated into the profession as knowledge workers and symbolic analysts who can interact with computers in complex analytical procedures, quality assurance and quality management. The cue for this position is taken from the transformations
taking place in the pathology industry due to advances in automation, robotics and
informatics. The rise of Evidence-Based Laboratory Medicine (EBLM) is also noted
and the observation by higher education researchers, that knowledge systems are
transforming in such a way that disciplines can no longer act in isolation. They must
now collaborate with disparate fields in transdisciplinary knowledge systems such as
EBLM, for which new skills must be cultivated in undergraduate medical scientists.
This thesis aims to describe a theoretical basis for knowledge work by taking a semiotic perspective. This is because, semiotics, a theory of signs and representations, can be applied to the structure of transdisciplinary scientific knowledge, the logic of scientific practice and the rhetoric of scientific
communications. For this purpose, a semiotic framework is first derived from a wide
range of semiotic theories existent in the literature. Then the application of this
semiotic framework to clinical chemistry knowledge, context, logic, and rhetoric is
demonstrated. This is achieved by interpreting various clinical chemistry data
sources, for example, course materials, laboratory spatial arrangements, instruments,
printouts, and students' practical reports, collected from a teaching laboratory
situation.
The results of semiotic analysis indicate that the clinical chemist working in the computerised laboratory environment performs knowledge work, and the term is synonymous with symbolic analysis. It is shown that knowledge work entails the application of a systematic structure for clinical chemistry knowledge derived in terms of the validation procedures applied to laboratory, data, results and tests; the application of logic in the classification and selection of instruments, their rule governed-
use, and in troubleshooting errors; pragmatic decisions based on availability of space, services and budgets; discrimination among values in laboratory test evaluations in EBLM, for the cost-effectiveness and relevance of
pathology services; and the recognition of rhetorical strategies used to communicate
laboratory test information in graphs, charts, and statistics. The role of the laboratory
context is also explained through semiotics, in terms of its spatial arrangements and
designs of laboratory instruments, as a place that constrains the knowledge work
experience. This contextual analysis provides insights into the oppositional trend
brought to wide attention by analysts of computerised professional work, that more
skills are needed, but that there are fewer highly skilled positions available.
The curriculum implications of these findings are considered in terms of the need to cultivate knowledge workers for highly complex symbolic analysis in computerised laboratories; and also the need to prepare medical science graduates for
the transdisciplinary knowledge system of EBLM, and related venues of employment such as biomedical research and clinical medicine. In meeting the aims to define and demonstrate knowledge work from the semiotic perspective, this thesis makes an original contribution to knowledge by the application of semiotics to a field in which it has probably never been tested. It contributes to the scholarship of
teaching in higher education by formulating a structure for transdisciplinary medical
science knowledge, which integrates scientific with other forms of knowledge, and with real world practice.
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Carberry, Helen. "Semiotic analysis of clinical chemistry: for " knowledge work " in the medical sciences." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15809/.
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Abstract In this thesis a socio-cultural perspective of medical science education is adopted to argue the position that undergraduate medical scientists must be enculturated into the profession as knowledge workers and symbolic analysts who can interact with computers in complex analytical procedures, quality assurance and quality management. The cue for this position is taken from the transformations taking place in the pathology industry due to advances in automation, robotics and informatics. The rise of Evidence-Based Laboratory Medicine (EBLM) is also noted and the observation by higher education researchers, that knowledge systems are transforming in such a way that disciplines can no longer act in isolation. They must now collaborate with disparate fields in transdisciplinary knowledge systems such as EBLM, for which new skills must be cultivated in undergraduate medical scientists. This thesis aims to describe a theoretical basis for knowledge work by taking a semiotic perspective. This is because, semiotics, a theory of signs and representations, can be applied to the structure of transdisciplinary scientific knowledge, the logic of scientific practice and the rhetoric of scientific communications. For this purpose, a semiotic framework is first derived from a wide range of semiotic theories existent in the literature. Then the application of this semiotic framework to clinical chemistry knowledge, context, logic, and rhetoric is demonstrated. This is achieved by interpreting various clinical chemistry data sources, for example, course materials, laboratory spatial arrangements, instruments, printouts, and students' practical reports, collected from a teaching laboratory situation. The results of semiotic analysis indicate that the clinical chemist working in the computerised laboratory environment performs knowledge work, and the term is synonymous with symbolic analysis. It is shown that knowledge work entails the application of a systematic structure for clinical chemistry knowledge derived in terms of the validation procedures applied to laboratory, data, results and tests; the application of logic in the classification and selection of instruments, their rulegoverned- use, and in troubleshooting errors; pragmatic decisions based on availability of space, services and budgets; discrimination among values in laboratory test evaluations in EBLM, for the cost-effectiveness and relevance of pathology services; and the recognition of rhetorical strategies used to communicate laboratory test information in graphs, charts, and statistics. The role of the laboratory context is also explained through semiotics, in terms of its spatial arrangements and designs of laboratory instruments, as a place that constrains the knowledge work experience. This contextual analysis provides insights into the oppositional trend brought to wide attention by analysts of computerised professional work, that more skills are needed, but that there are fewer highly skilled positions available. The curriculum implications of these findings are considered in terms of the need to cultivate knowledge workers for highly complex symbolic analysis in computerised laboratories; and also the need to prepare medical science graduates for the transdisciplinary knowledge system of EBLM, and related venues of employment such as biomedical research and clinical medicine. In meeting the aims to define and demonstrate knowledge work from the semiotic perspective, this thesis makes an original contribution to knowledge by the application of semiotics to a field in which it has probably never been tested. It contributes to the scholarship of teaching in higher education by formulating a structure for transdisciplinary medical science knowledge, which integrates scientific with other forms of knowledge, and with real world practice.
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Petersson, Susanna, and Fahlman Marie. "När budskapet går in i hjärtat : En receptionsstudie av bilder från organdonationskampanjer." Thesis, Högskolan i Jönköping, Högskolan för lärande och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-25819.
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Syftet med studien är att utföra en receptionsstudie där fem stycken kampanjbilder från utländska organdonationsorganisationer studeras från ett mottagarperspektiv, i den här studien syftar det till en svensk målgrupp. Studien är uppdelad i två huvudmoment, en semiotisk bildanalys och fokusgruppsintervjuer. Med hjälp av dessa insamlingsmetoder besvaras studiens frågeställningar”Hur är de utvalda kampanjbilderna komponerade ur ett semiotiskt perspektiv?” samt ”Hur uppfattas de utvalda bilderna av en svensk målgrupp?”. Socialpsykologi utgör det teoretiska ramverket i studien och används för att nå en högre förklaringskraft i analysdiskussionen. Den semiotiska bildanalysen genomförs med de semiotiska begreppen konnotation, denotation, ikon, index och symbol. Fokusgruppsintervjuerna analyseras med hjälp av McGuires påverkansmodell och kompletteras med en relevansformel, omnämnd av Bo Bergström. Studiens resultat visar att den sociala kontexten har en stor inverkan på hur kampanjbilden mottages av den svenska målgruppen. Resultatet visar att det är av stor vikt att text och bild samspelar för att budskapet ska kommuniceras till mottagaren, annars finns en risk att budskapet inte uppnår den relevans som krävs för att bilden ska ha effekt.The aim of this study is to examine five campaign images from foreign organ donation organizations studied from a user’s perspective, in this study it refers to the Swedish audience. The study is a perception analysis that is viewed from a receiver’s point of view. It is divided into two main parts, a semiotic analysis and interviews with focus groups. Using these methods the questions of the study "How are the selected campaign images composed from a semiotic perspective?" and "How is the selected images of a Swedish audience?" were answered. Social Psychology is the theoretical framework used to achieve a higher explanatory power in analysing the discussion. The semiotic image analysis is based on the semiotic concepts of connotation, denotation, icon, index and symbol. The focus group interviews were analysed by McGuire ́s model of influence and were supplemented by the formula of relevance, mentioned by Bo Bergström. Our findings suggested that the social context has a large impact on how the images are being interpreted by the Swedish audience. The result shows that it is of great importance that text and visual image are integrated for the message to be communicated to the receiver, otherwise there is a risk that the message does not reach the relevance required for the image to be effective.
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Haji, Harun Hajah Zurina. "Evaluating the teaching and learning of fractions through modelling in Brunei : measurement and semiotic analyses." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/evaluating-the-teaching-and-learning-of-fractions-through-modelling-in-brunei-measurement-and-semiotic-analyses(b03b0a49-80a9-4ba0-a43c-d7201b180158).html.
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This thesis is submitted to the University of Manchester for the degree of Doctor of Philosophy (PhD). This study developed an experimental small group teaching method in the Realistic Mathematics Education tradition for teaching fractions using models and contexts to year 7 children in Brunei (N=89) whose effectiveness was evaluated using a treatment-control design: the E1 group was given the experimental lessons, the E2 group who was given “normal” lessons taught by the experimenter, and a whole class (E3) group which acted as the control group. The experimental teaching was video recorded and subject to semiotic analysis, aiming to describe the objectifications that realized ‘learning of fractions’ by the groups.The research addresses two research questions:1. How effective was the experimental teaching in helping learners make sense of fractions, with respect to equivalence of fractions and flexibility of unitizing?2. What were the semiotic learning and teaching processes in the experimental group of the RME-like lessons? This study used a mixed method approach with a quasi-experimental design (QED) for the quantitative side, and a semiotic analysis for the qualitative side. Quantitatively, the experimental teachings proved to be relatively effective with an effect size of 0.6 from the pre- to the delayed post-teaching test, compared to the E2 and the control groups.The basic findings pertaining to the semiotic analyses were:a. The mediation of the production of fractions in terms of length, from the production of fractions in terms of the number of parts which led to equivalence of fractions;b. The use of language and gesture help to objectify the equivalence of fractions and the flexibility of unitizing–in some case it involved gesturing to the self;c. The role of the Hour-Foot clock (HFC) as a model in a realistic context; andd. The complexity of the required chains of objectifications reflects the difficulties of the topic.
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CUNHA, CECILIA KREMER VIEIRA DA. "A SEMIOTIC MODEL OF THE COMMUNICATION PROCESSES RELATED TO THE ACTIVITY OF APPLICATION EXTENSION BY END-USERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2001. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6520@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOAplicações extensíveis por usuários finais representam uma proposta para tratar o problema de que é improvável que um software consiga atender a todas as necessidades específicas de cada usuário em um domínio. Uma das áreas de pesquisa de aplicações extensíveis é a de Programação por Usuários Finais ou End-User Programming (EUP). Investigações empíricas de EUP evidenciam a existência de práticas colaborativas relacionadas ao processo de extensão de aplicação, onde pessoas se comunicam com diversos objetivos: para ajudarem-se a resolver seus problemas com computação, para compartilhar extensões prontas ou construí-las conjuntamente. Nosso trabalho complementa essas investigações, contribuindo com um tratamento aprofundado e teoricamente motivado dos fenômenos de comunicação relacionados às práticas colaborativas observadas. Com base na teoria da Semiótica e na Engenharia Semiótica, propomos um modelo desses fenômenos, descrevendo sua estrutura e comportamento, permitindo assim uma melhor compreensão das questões relacionadas aos mesmos. De acordo com o modelo, projetamos uma linguagem computável para a representação de extensões de forma associada aos discursos das comunicações estudadas.
Applications that are extensible by end-users represent a proposal to cope with the issue that it is improbable that a software will attend every specific need of each different user within a domain. One of the research areas approaching extensible applications is End-User Programming (EUP). EUP empirical investigations evidence the existence of collaborative practices related to the process of application extension. In these practices, people communicate with each other with various purposes: to help themselves deal with their problems regarding computing, to share ready-made extensions or to build extensions together. Our work complements these investigations by offering a deep and theoretically motivated treatment of the communication phenomena related to the observed collaborative practices. Based on Semiotics theory and Semiotic Engineering, we propose a model of these phenomena, describing its structure and behavior thus supporting a better understanding of the issues related to them. According to the model, we designed a computable language for the representation of extensions in association with corresponding communicative discourse.
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Bröjer, Katarina, and Kaisa Lundberg. "H&M vs : Roberto Cavalli." Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-1438.
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Schwarzfischer, Klaus. "Die Relevanz semiotischer Dimensionen als "System der möglichen Fehler" für die Usability." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-223695.
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Aus Punkt 1:
"Warum lohnt sich Semiotik gerade im Bereich Usability und Design? Mehr noch, die Semiotik als übergreifende Perspektive ist hier gar nicht zu vermeiden. (Vermeidbar ist allenfalls der Soziolekt bzw. Technolekt der akademischen Semiotik, nicht aber ein semiotisches Arbeiten selbst.)
Das Denken vieler Designer ist eher visuell geprägt. Diese Ausrichtung auf non-verbale Formen und Handlungen scheint der Semiotik entgegen zu stehen. Die Semiotik hat zwar eine starke Tradition in der Linguistik, aber diese stellt nur eine von mehreren gleichwertigen Zugängen dar: Man denke etwa an die Medizin (wo visuelle und sonstige Symptome als Zeichen gedeutet werden), an die Malerei (wo es Repräsentationen für ästhetische, soziale und politische Entsprechungen gibt), an die Gestik (wo jede kleinere oder größere Bewegung eines Muskels mit Bedeutungen verknüpft ist) oder an die Musik (wo sehr abstrakte Tonfolgen mit emotionaler Dynamik verbunden sind) – dazu etwa Eco (2002), Nöth (2000), Hucklenbroich (2003), Mazzola (2003) sowie Grammer (2004). ..."
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Rowinski, Jens, and Isaac Blixt. "Mode att gilla genus på Instagram : En semiotisk studie av H&M:s Instagram-konto ur ett genusperspektiv." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-29373.
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Slattery, David P. "Archaeology of Trobriand knowledge: Foucault in the Trobriand Islands." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/2844.
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This thesis holds that the application of the archaeological method, developed by the French philosopher Michel Foucault, to the field of anthropology reveals a hitherto hidden primitive episteme. Such a project represents a rejection of a search for a fundamental Truth, available through the traditional figures of rationality, either vertically in history or horizontally across cultures. The form of reason posited by this project does not have a constant and universal occurrence but is given in the discontinuous figures of the episteme. The quest for a single manifestation of the conditions of validity in reason is replaced by a study of the conditions of possibility of the truths, discourses and institutions of a primitive peoples. The conditions of possibility for the emergence of the elements of primitive knowledge and practices are available through the application of the explanatory unities of the archaeological method. These unities replace the traditional explanatory role of the subject, with all of its psychological baggage, which has a central role in modern theories of rationality. The subject-knowledge link that dominates traditional anthropological analyses is replaced by a powerknowledge link that postulates the two axes of discursive and non-discursive concerns. The discursive axis is concerned with the objects, concepts, statements and discursive formations of primitive knowledge while the non-discursive axis is concerned with the systems of power that propagate and sustain those discourses. These two axes constitute the nature of the archaeology employed in this study. This thesis is sustained by both negative and positive evidence. The negative evidence takes the form of an antisubjectivist thrust where the subject-dependent explanatory unities of the tradition are replaced by the positivistic elements of archaeology. The positive evidence primarily takes the form of a detailed analysis of the presence of the guiding codes of the episteme amongst the Trobriand Islanders that give rise to their primitive knowledge and practices. In this area, I make extensive use of Malinowski's ethnographic observations for their breath of detail and application without employing his subject-dependent psychobiological conclusions. Further, I am proposing a transformative position such that orality becomes a feature of the episteme rather than its condition of possibility. The guiding codes of the Trobriand episteme take the form of enclosed oppositional figures that are everywhere related to space. The Trobriand episteme provides the conditions for the emergence of primitive discourses and orders the experiences of the Trobrianders. The guiding figures of the episteme are based in a form of complementary opposition, causation as vitality and a dogma of topological space that give rise to primitive knowledge which is a form of divination. A significant part of this dissertation is taken up with an examination of the detail and limitation of these figures where ideas from Levy-Bruhl, Hallpike, and others are employed to produce the most appropriate configuration for my project. A particular form of language as the manipulation of real signs, rather than ideational signs, has its possibility in this configuration which has consequences for the type of knowledge produced. The form of knowledge appropriate to the presence of such a model of language is magic. Writing has no possibility for emerging in this episteme and, therefore, there are significant consequences for the type of knowledge that can be maintained and propagated in a context which must utilise static tradition to the detriment of reflection. An archaeological analysis of the Trobriand Islanders, focusing on discourses on sex and marriage, the nature of tabooed sexual acts, economic relations arising out of marriage and the role of the polygamous chief, the nature of love-magic and magic in general, reveals a shared possibility for all of these discursive realms in the figures of the episteme. These discourses are regulated by the presence of a fundamental opposition between a brother and his sister. This opposition forms the motif for primitive problematizations and constitutes a vulnerable boundary which is the appropriate focus of taboos relating to sex and food, amongst others. This primitive episteme characterises the unity of the experiences of the Trobrianders. This experience is discontinuous with our own and does not involve a role for the individual ego. This project represents a worthwhile contribution to an understanding of human experience and knowledge in general which does not seek to reduce the natural diversity of man to just the monotonous experience of modern man. In conclusion, I tentatively speculate about the appropriateness of the Trobriand figures for primitive experience in general.
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Lewis, Paul. "A model for culture-independent music analysis : 'sounding form' and musical communication." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361468.
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Stackevičienė, Ernesta. "Išorinė socialinė reklama Kauno mieste: turinio ir semiotinė analizė." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090805_090223-21535.
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Socialinė reklama, apimdama platų spektrą aktualių šiandieninės visuomenės problemų tiek moksliniame lygmenyje, tiek norminiuose dokumentuose, tikslingai įvardijama kaip kultūrinė, socialinė ir šviečiamoji informacija. Tokia informacija, pateikta per viešosios komunikacijos priemones miesto erdvėse, turi aiškų ir konkretų tikslą – kurti naujas socialines vertybes ir taip paveikti žmogaus jausmus, priversti susimąstyti dėl egzistuojančių problemų ir ilgalaikėje perspektyvoje jas spręsti. Tokiam tikslui pasiekti socialinė reklama visuomenei atlieka svarbias, besiintegruojančias, persipynusias funkcijas: informuoja, įtikinėja, skatina bei primena.
Vadinasi, socialinė reklama, turėdama tikslą provokuoti, šokiruoti, emociškai sukrėsti, yra skirta šviesti, mokyti, auklėti ar motyvuoti auditoriją, į kurią reklama yra nukreipiama, imtis socialiai tinkamų poelgių ar veiksmų. Tokia reklama neskatina pirkti prekių ar paslaugų, nes jos tikslas yra paveikti žmogaus moralę, suvokimą, įtakoti jausmus, keisti netinkamą elgesį ar požiūrį. Pasitaiko socialinių reklamų, kuriose naudojama paslėpta reklama – kuomet siuntėjas sąmoningai siunčia dviprasmiškos reikšmės informaciją gavėjui, padeda kalbėtojui siekti komercinių tikslų.
Šiame darbe į socialinę reklamą žvelgiama kaip į viešąją komunikaciją. Jame stengiamasi patvirtinti arba paneigti išsikeltas dvi hipotezes. Pirmoji, išorinė socialinė reklama apima didelį spektrą socialinių problemų, o daugiausia dėmesio skiria tokiems neigiamiems... [toliau žr. visą tekstą]Social advertising, encompassing a wide range of topical problems of the modern society is both at scientific level and in regulatory documents purposefully described as cultural, social and educational information. Such information, presented in urban spaces via the public communication tools, has a clear and specific purpose – to create new social values and thus affect human feelings, to make a person think about the existing problems and to solve them in the long-term perspective. In order to accomplish this purpose, social advertising in the society performs the following important integrating and intertwining functions: it informs, persuades, encourages and reminds. Consequently, social advertising, possessing the aim to provoke, to shock, to inflict emotional distress is intended to educate, teach, foster and motivate the audience, which is the advertising’s target group, to behave in a proper way and to take socially appropriate actions. Such advertising does not promote purchasing goods or services, since its aim is to affect a person’s morality, perception, to influence feelings, to change undue behaviour or opinion. Sometimes one can come across social advertisements which employ hidden advertising – when an addresser is deliberately sending ambiguous information to the addressee, helps the speaker in seeking commercial aims. In this work social advertising is treated as public communication. The author is trying to prove or to reject the two hypotheses which... [to full text]
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Allick, Steven. "The common forms of contemporary videogames : a proposed content analysis model." Thesis, Teesside University, 2012. http://hdl.handle.net/10149/254616.
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The aim of this thesis was to investigate trope usage in videogames, including the emergence of undiscovered ‘videogame’ tropes, and to create a new model for videogame categorisation using these tropes. This model serves to complement genre as a means of distilling videogame contents. The investigative work formed two parts, initially considering how videogames use existing rhetorical tropes such as metaphor as expressive and communicative devices and secondly to analyse videogames as a source of shared literary tropes. Each shared literary trope was validated as a common form of expression (referred to simply as 'common form'), where its presence was proven in a substantial sample of videogames. Common forms were gathered through a wide-ranging investigation of ten mainstream genres one at a time and in isolation to arrive at a pool of genre-specific common forms. The most closely related forms combined, with the help of relationship modelling techniques. A set of common forms capable of representing the contents of any videogame was reached. The result is a powerful hierarchical content model allowing a game to be described in terms of its common form usage profile. Common forms can effectively describe games which span several genres and differentiates between games which appear similar on the surface e.g. within the same genre hence aiding effective classification. Common Forms were proven to exist on a number of different hierarchies ranging from those specific to a particular game, to a game type (genre) and even to those which are universal and hence can be observed within any modern videogame. Finally, it was possible to see the very core or 'heart' of the functioning videogame, the never-ending competition between player resources such as energy, ammunition or shields, the 'player status' and the threats, challenges or obstacles the game's systems throw at the player, the 'game status'. The model does have considerable potential for application in educational settings such as college and university game development or appraisal classes and further development and testing would provide an effective tool for industry use.
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Schwarzfischer, Klaus. "Die Relevanz semiotischer Dimensionen als "System der möglichen Fehler" für die Usability." Technische Universität Dresden, 2016. https://tud.qucosa.de/id/qucosa%3A30285.
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Aus Punkt 1:
"Warum lohnt sich Semiotik gerade im Bereich Usability und Design? Mehr noch, die Semiotik als übergreifende Perspektive ist hier gar nicht zu vermeiden. (Vermeidbar ist allenfalls der Soziolekt bzw. Technolekt der akademischen Semiotik, nicht aber ein semiotisches Arbeiten selbst.)
Das Denken vieler Designer ist eher visuell geprägt. Diese Ausrichtung auf non-verbale Formen und Handlungen scheint der Semiotik entgegen zu stehen. Die Semiotik hat zwar eine starke Tradition in der Linguistik, aber diese stellt nur eine von mehreren gleichwertigen Zugängen dar: Man denke etwa an die Medizin (wo visuelle und sonstige Symptome als Zeichen gedeutet werden), an die Malerei (wo es Repräsentationen für ästhetische, soziale und politische Entsprechungen gibt), an die Gestik (wo jede kleinere oder größere Bewegung eines Muskels mit Bedeutungen verknüpft ist) oder an die Musik (wo sehr abstrakte Tonfolgen mit emotionaler Dynamik verbunden sind) – dazu etwa Eco (2002), Nöth (2000), Hucklenbroich (2003), Mazzola (2003) sowie Grammer (2004). ..."
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Mkaza, Linda. "Exploring the potential of digital storytelling in the teaching of academic writing at a higher education institution in the Western Cape." University of the Western Cape, 2019. http://hdl.handle.net/11394/8295.
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Magister Educationis - MEdWriting is an important skill throughout learners’ schooling trajectory because it is through writing that learners need to situate meaning and sense-making across the curriculum. Writing proficiency becomes even more important when learners access tertiary studies. Yet studies suggest that most students struggle with academic writing. Various authors suggest that writing has not been taught appropriately especially in secondary schooling contexts in South Africa and that writing becomes even more daunting for Second Language speakers of English when they reach tertiary education. There is abundant literature on students’ challenges with academic writing and ways to address academic writing challenges but the use of digital storytelling in relation to academic writing development is recent and distinctively underexplored in the literature. In this study, I seek to explore the potential that digital storytelling has in the teaching of undergraduate academic writing skills. I will focus on first year students' academic writing skills, how they are taught currently and how technology in the form of digital storytelling can help first year students improve their academic writing skills. The theoretical framework for the study is largely based on the New Literacies Studies which is championed by members of the New London Group such as Street and Street (1984) Lea and Street (2006) among others. The theoretical framework will draw on the notion of literacy as social practice rather than a set of reading and writing skills which explains why educators need to find new ways of teaching academic writing skills. I use semiotics and multimodality as a foundational concept for using digital storytelling in academic writing. That is because semiotics and multimodality further support the idea that literacy goes beyond words but that audio and visual elements are also part of learning and can help engage students in their academic work. The main aim of this proposed research is to explore both students and lecturer practices of digital literacies in the teaching and learning of academic writing at The Cape Peninsula University of Technology (CPUT).
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Laestander, Carl. "“I prefer Asian models over white, because I am Chinese” : En kvalitativ studie om kinesiska utbytesstudenters uppfattningar om västerländska modeller i kinesisk reklam." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-119231.
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The aim of this study has been to, from a comparative perspective examine how the use of western models in Chinese advertising are perceived by chinese exchange students living in Sweden. The scientific approach in this study has been both with semiotic picture analysis and qualitative interviews. The study's empirical material has consisted of pictures of white models in fashion magazines published in China for example Vouge China. These pictures were presented to the respondents during the interviews, and questions were asked about them and the answers is also a part of this study's empirical material. The theoretical perspectives used in this study is based on theories about whiteness, stereotypes and occidentalism. The results in the study has shown that the whithe models are presented with high status both in the semiotic picture analysis and the qualitative interviews. It has also shown that the respondents prefer asian models over white in advertising in China, especially with products conected to the body and that the white stereotype is almost described identiaclly by all the respondents. Finally the result has found that the ethnicity is connected to picture enviroments, in that way if it is a white model it should be a western enviroment.
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Ternar, Yeshim 1956. "The romantic between the lines : ethnographer as author." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63219.
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Yassuda, Maria Adélia Ziolli. "Jorge Kajuru total: modos de presença de uma vedete midiática." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4966.
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Maria Adelia Ziolli Yassuda.pdf: 5304744 bytes, checksum: 5460934cb92414d6b983d876cb22b413 (MD5)
Previous issue date: 2007-10-24This study investigates the construction in the ways of presence of Jorge Kajuru in his performance as presenter of a sports reporter for television. Our corpus was delimited in last the two months of propagation of the program Esporte Total, under the command of Jorge Kajuru, period that understands the months of April and May of 2004, and still integrates the corpus others media texts randomly select. The problematic of the object was based in the Semiotics developed around Algirdas Julien Greimas, in special, his narrative grammar and the discursive level, of which the figurative and enunciative mechanisms are explored. Jorge Kajuru obtains to assume in the variation of his performance a transitory existence semiotics between the categories that one that is included and that one that is including. He explores a universe cultural of subjects and figures of the sphere of the privacy from which he serves himself to give sustentation the interactive relation with the interested Brazilian viewer in the sports, more necessarily, in the soccer, thematic central office of its program. In his approach, Jorge Kajuru creates links between situations that the ethics of the daily one in general propagate in his Esporte Total and, from which infers the scienter of the presenter for the establishment of an adhesion contract that creates effect of sensible of secular concurrence in relation to the moment of reception of the program. Our hypothesis is that Jorge Kajuru constructs himself with a way of being himself from the rearrangement of the paper of narrator in first person, assuming himself in the majority of the times as interlocutor who dialogues directly, as if in a body the body with the interlocutee. In this case, the hearing, that is installed in interlocution act to produce effect of uncurling of a colloquy of abetters between Kajuru and the viewer, who divides of the same ethical values and social behavior. The figure of the presenter can be taken as well as the one of a subject that if constructs as declared and emerges in the articulation with a "individuated identity" by means of the considered effect of interaction in the ways as it says what he says
Este estudo investiga a construção dos modos de presença de Jorge Kajuru em sua atuação como apresentador de um noticiário esportivo televisivo. Nosso corpus foi delimitado nos últimos dois meses de veiculação do programa Esporte Total, sob o comando de Jorge Kajuru, período que compreende os meses de abril e maio de 2004, e ainda integram o corpus outros textos midiáticos, selecionados aleatoriamente. Nossa problematização do objeto ancorou-se na Semiótica desenvolvida em torno de Algirdas Julien Greimas, em especial, na sua gramática narrativa e no nível discursivo, do qual são explorados os mecanismos figurativos e enunciativos. Jorge Kajuru consegue assumir na variação da sua atuação uma existência semiótica transitória entre as categorias englobado e englobante. Ele explora um universo cultural de temas e figuras da esfera da intimidade a partir dos quais ele se serve para alicerçar a relação interativa com o telespectador brasileiro interessado nos esportes, mais precisamente, no futebol, temática central do seu programa. Na sua abordagem Jorge Kajuru cria elos entre situações que veicula em seu Esporte Total e a ética do cotidiano em geral, a partir dos quais depreende-se a intencionalidade do apresentador para o estabelecimento de um contrato de adesão que cria efeitos de sentido de concomitância temporal em relação ao momento de recepção do programa. Nossa hipótese é que Jorge Kajuru se constrói com um modo de ser ele mesmo a partir do rearranjo do papel de narrador em primeira pessoa, assumindo-se na maioria das vezes como interlocutor que dialoga diretamente, como se num corpo a corpo, com o interlocutário, no caso, a audiência, que é instalada em ato interlocucionário para produzir efeitos do desenrolar de uma conversa de cúmplices entre Kajuru e o telespectador, que partilham dos mesmos valores éticos e de conduta social. A figura do apresentador pode ser tomada assim como a de um sujeito que se constrói como enunciado e emerge na enunciação com uma identidade individuada por meio dos efeitos de interação propostos nos modos como ele diz o que diz
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Farronato, Cristina. "Eco's chaosmos : medieval models for a postmodern world /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9975887.
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Rosengren, Jennifer. ""Det kändes mer verkligt, som att man nästan var där själv!" : En experimentell studie om lågstadieelevers läsupplevelse vid tillämpande av auditiva intryck." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-43287.
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Syftet med denna studie var att undersöka vilken effekt tillämpandet av auditiva intryck hade för elevers läsupplevelse. Detta undersöktes genom en experimentell studie som genomfördes tillsammans med elever i årskurs 3. Eleverna fick då, under observation, läsa en text med och utan ljud. Resultatet från observationerna användes sedan för att urskilja eventuella likheter och skillnader i elevernas läsning utifrån de olika tillvägagångssätten. I samband med dessa observationer genomfördes även intervjuer med några av de elever som deltog i undersökningen, för att därigenom skapa en tydligare bild av elevernas individuella upplevelser av läsningen samt för att kunna stärka, bekräfta eller förkasta de tendenser som framgick under observationerna. Resultatet visade tydliga tendenser av ett möjligt samband mellan elevernas läsupplevelse och tillämpandet av auditiva intryck under läsning, där majoriteten av eleverna fick bättre inlevelse och kunde koncentrera sig mer under läsning.The purpose of this study was to investigate which effect the application of auditory impressions had for students’ reading experience. This was investigated by an experimental study conducted together with pupils from the third grade. Students were then, under observation, reading texts with and without sound. The results of the observations were then used to identify similarities and differences in the students’ reading abilities in the two different scenarios. In conjunction with these observations, interviews were conducted with some of the students who participated in the study in order to create a clearer picture of their individual experiences of reading, and to strengthen, confirm or reject the trends that emerged during the observations. The results clearly showed tendencies of a possible connection between the students' reading experience and the application of auditory impression in reading, where the majority of students had a better involvement and could concentrate more during reading.
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Luttrell, Briony M. "A cultural semantics of string arrangement for recorded Popular music: A model for analysis and practice." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108032/2/Briony_Luttrell_Thesis.pdf.
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This thesis contributes new knowledge about writing and analyzing string arrangements for recorded Popular music. I show how string arrangements can be categorized under one of seven distinct styles that are made coherent and meaningful through their identification with specific social and cultural institutions. The string styles are derived from and situated in a cultural and historical corpus of 500 albums released between 1952 and 2011. The thesis offers a new way for arrangers to analyze examples of practice, inform new creative work, and communicate with other musical professionals about string arranging.
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Granström, Therese. "Vad är äkta mode på gatorna? : En semiotisk bildanalys av maktstrukturer inom street style fashion photography." Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37398.
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Idén om fotografigenren street style fashion photography är att den visar upp den vanliga människan, i vanliga kläder i en vardaglig kontext. Idén bakom fotografiet i sig går i samma linje om att visa upp det äkta, och i liknande stil skapades de sociala medieplattformen Instagram – för att publicera äkta bilder ”on-the-go”. Tidigare forskning visar dock på att fotografi, Instagram och street style fashion photography inte är lika vanligt och äkta som idéerna om dem. Fotografi handlar om att sätta sig själv i relation till världen och på så sätt skapas en typ av makt. Denna uppsats syftar till att blottlägga maktstrukturer i street style fashion photography bilder publicerade av influensers på plattformen Instagram. Metoden som används för att analysera materialet är Roland Barthes semiotiska denotation och konnotationsmodell, de fynd som hittas i analysen diskuteras därefter i relation till Pierre Bourdieus fältteori för att, på en relationell nivå, förstå hur maktstrukturerna placerar ut influenserna på det svenska modefältet online. Analysen visar att bilderna i materialet är högst uppstyrda och planerade, det konnoterar olika idéer om kommersiellt mode och kulturproducerat ”högmode”, lyxiga miljöer och ”vanliga” gator, allt detta i förhållande till Instagram estetik och vad som är vinnande visualiteter. De tre influenserna, vars bilder analyseras i studien, placeras i olika positioner på modefältet online men delar samtidigt på positionen som nykomlingar eftersom de kapital de visar upp skiljer sig mellan dem, samtidigt som strategierna för att ta sig an fältet är likande.
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Parry, Michael. "Multimodal Communication in an Eighth Grade History Classroom : A study from a design theoretical and multimodal perspective." Thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-126795.
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The following essay was written in Stockholm, Sweden in the autumn of 2015 at Stockholm University. The purpose of this study is to explore the forms of multimodal communication that are used in the classroom as meaning making prompts. The study is from a multimodal and design theoretical perspective and uses the model Learning Design Sequence as a framework for collecting and analysing data. A qualitative method is being used for collecting data from video observation, from two eighth grade History classes. Video Observation and multimodal transcription produce rich data from a multimodal perspective, for seeing what modes of communication are being used. However, to observe what modes of communication functioned as meaning making prompts, other methods could be employed. The results show that speech, gesture and tone of voice are used in the foreground as modes of communication. Gaze, image, text, posture and movement can fluctuate between the background and foreground depending on their use. Social practices such as turning the lights off, or turning the overhead projector on can function as meaning making prompts, as can hand gestures such as pointing, clapping and enacting. Speech, gesture, tone of voice, movement, image and sound can all work as a meaning making prompts individually or combined together.VAL projekt
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BROWN, BREIGHAN MOIRA. "“Transforming Chaos”: Modes of Ambiguity in Tchaikovsky’s Symphony No. 5 in E Minor." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187004301.
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Elliott, David Lee. "Living acts of semiosis John Dewey's model of esthetic experience as key to a temporal theory of signs /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4903.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 9, 2009) Includes bibliographical references.
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Marsicano, Diego. "O papel das didascálias na instauração de paixões em The December Man." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09052014-100736/.
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As didascálias, também conhecidas como rubricas ou indicações cênicas, ocuparam quase sempre um lugar marginal nos manuscritos e nas edições impressas de peças teatrais, figurando frequentemente como notas no canto da página ou abaixo das falas, que por sua vez recebiam todo o destaque. Entretanto, as didascálias constituem um elemento essencial na construção do sentido da peça, independentemente do fato de determinada montagem ter seguido integralmente as rubricas originais do autor ou ter criado outras para substituí-las. Esta dissertação se debruça sobre a instauração de paixões através das gradações tensivas observadas a partir das didascálias e de seus possíveis desdobramentos, na peça canadense The December Man (LHomme de Décembre), de Colleen Murphy. Para tanto, analisamos o discurso teatral segundo a semiótica greimasiana, a partir dos três níveis de abstração, a fim de estabelecermos a construção do sentido na peça. Como nosso objetivo inicial era investigar uma possível coerência entre o texto ficcional (falas) e o natural (rubricas), fizemos também um levantamento de algumas acepções e práticas atinentes às indicações cênicas, ficando claro que são majoritariamente entendidas como termo acessório ao texto e não como elementos intrínsecos. Outro de nossos objetivos era fornecer aos encenadores subsídios capazes de motivar as ações das personagens sobre o palco. Assim, procuramos determinar e analisar a paixão que prevalece na peça, a fim de demonstrar como as relações eram revestidas afetivamente e encontrar uma paixão que fosse forte o suficiente para agir como motor do trágico. Constatamos que a revolta foi o sentimento que impulsionou e motivou todas as ações das personagens. Após observarmos as relações afetivas, isolamos as didascálias para estabelecermos uma possível constituição tensiva destas últimas (Claude Zilberberg, 2006 e 2007). O elo que conferiu consistência e coerência a todas as análises e observações anteriores, que estavam um tanto desconexas, foi o fazer missivo. Desse modo, pudemos compreender melhor o papel das rubricas na construção dos efeitos de sentido em The December Man. Assim, verificamos que não só há coerência entre o texto falado e as indicações cênicas, mas também que um não se dissocia do outro. As didascálias reforçam e modulam o discurso de forma tensiva, demarcando e reiterando as tensões das falas através das imagens construídas a partir da iluminação, do cenário e da indumentária. Constituem uma figurativização, carregam valores culturais e, com isso, contribuem para o efeito de carga axiológica, valorativa e afetiva das cenas.Didascalie or Didascaliae, also known as stage directions or notes, have almost always occupied a marginal place in the manuscripts and printed editions of plays, often appearing as notes on the corner of the page or below the lines, which receive all the attention. However, didascalie constitute an essential element in the construction of the meaning of a play, regardless of whether a particular play entirely follows the authors directions or creates others to replace them. This dissertation focuses on the establishment of passions and tensive grading observed in didascalie, as well as on their possible outcomes in the Canadian play The December Man (L\'Homme de Décembre), written by Colleen Murphy. For this purpose, we have analyzed the theatrical discourse according to the French semiotics framework, based on the three levels of abstraction (fundamental, narrative and discursive), in order to establish the mechanisms of meaning construction in the play. As our initial goal was to investigate the connection between the fictional text (lines) and the natural one (didascalie), we also surveyed some concepts and practices related to stage directions, which are mostly understood as supplementary material rather than as intrinsic to the fictional text. Another goal of ours was to provide subsidies to directors and actors to motivate the latters actions on stage. Thus, we sought to determine and analyze the plays prevailing passion, in order to show how relationships were emotionally coated and how a passion could act as the motor of the tragic actions. We found that defiance was the feeling that motivated the characters actions. After that, we isolated the didascalie to examine their tensive characteristics (Claude Zilberberg, 2006 and 2007). The missive doing (faire missif) proved to be the organizing principle that gave consistency and coherence to the partial analyses. Thus, we can better understand the role of stage directions in the mechanisms of meaning construction in The December Man: not only do we find that there is coherence between the spoken text and stage directions, but also that they are interwoven. The didascalie enhance and modulate discourse in a tensive way, showing and reiterating the tensions of both the verbal text and action, through the images constructed from the lighting, scenery and costumes. They constitute a figurativization strategy and, thus, convey cultural values and thereby contribute to the effect of the axiological and emotional constructions of the scenes on the plays audience.
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Bonin, Gustavo Cardoso. "Quadro a Quadro: Música Cênica Brasileira." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-03122018-145246/.
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A dissertação propõe a investigação da Música Cênica como uma prática que coloca em jogo o contato entre elementos musicais e cênicos, ambos regidos por uma organização musical subjacente. Na guia das diversas vertentes da música contemporânea e experimental, alguns autores ressaltam a presença cênica dos concertos de música utilizando estratégias de iluminação, figurino, gestualidade, encenação etc. Os caminhos teóricos que tomamos desenharam uma abordagem ancorada na semiótica tensiva, de Claude Zilberberg, principalmente no texto \"As condições Semióticas da Mestiçagem\", do mesmo autor. Propomos observar as estratégias de dominâncias, transportes e ambivalências entre as presenças musicais e as presenças cênicas, através da configuração gradativa e aspectual dos modos de contato. Apresentamos também uma recensão dos principais autores da prática, em que levantamos as discussões terminológicas e as abrangências do termo e, por fim, procuramos aproximar os discursos sobre a ideia de uma identidade brasileira com os mecanismos que caracterizam a prática de Música Cênica, elencando um repertório de obras de compositores brasileiros.This work proposes an investigation of Scenic Music as a practice that puts in contact musical and scenic elements, both directed by an underneath musical organization. Taking into account the various aspects of contemporary and experimental music, some authors emphasize the scenic presence of music concerts by using strategies of lighting, costumes, gestures, staging, etc. The chosen theoretical approach is based on the tensive semiotics of Claude Zilberberg, mainly in the article \"The Semiotic Conditions of Miscegenation\". We analyze the strategies of dominances, transports and ambivalences between musical and scenic presences, through the gradual and aspectual configuration of the modes of contact. We also present a review of the main authors of this practice and discuss terminological issues and their range of uses. Finally, we trace some parallels between the idea of a Brazilian identity and the mechanisms that characterize the practice of Scenic Music, listing a repertoire of works by Brazilian composers.
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Fergusson, Annie. "Modes of engagement in theatrical documentary." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16415/.
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This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.
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Chen, Luciana. "Marina Abramović: modos de presença e seus sentidos." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19567.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work commits to the enunciation display applied by Marina Abramović, analyzing how it produces presence modes and meaning effects. With a corpus of 100 works by the artist, from the 1970s to 2015 and enunciations that provide mediatic visibility to her from 2010 to 2016, the study aims to map the enunciative devices that trigger aesthesic and pathemic meanings and to unveil the problem of how these promote the presence modes of her public to the point of changing them from observer to part of the artistic action. It takes as a first hypothesis that through the feedback of information about Abramović and her actions, her mediatic visibility strategy diversifies her audience at the same time that promotes the doing with the body and the feeling by reactive adjustment. The second one implies that Abramović Method effectiveness, developed by herself, occurs by contagion of the presences of her very audience, proponing the retaking of the body in virtual communication era, being these ones the devices applied to seduce and modalize the addressee so that it participates. Fomented by the gaps found in art history, centered on the artist process, on the artistic object and/or on the production context, this investigation is based on discursive semiotics, which considers the communicative and communicational relations between performance and audience, the interaction regimes between audience and art and the sensible lived experience. Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira and Eugênio Trivinho stand out among the authors that substantiate the investigation. The methodology comprises corpus analysis based on the meaning generative process, the mapping of Abramović’s visibility strategies and the analysis on the Method. The results point out: the self-conscience thematic and the immaterial and material values predominance, the emphasis on the body figure of the participants with Abramović Method; the effectiveness of the artist’s communicational strategy and the triggering of actions against her procedure, all of them feeding back her figure and proving the first hypothesis right; the communicative effectiveness of the Method through the presences contagion, which can be mediated by electronic devices, making feel simultaneously to the Method spread, which presents itself as condition of modalizing enunciation of alterity’s being and doing; the feeling of our time happens through reactive adjustment mediated by electronic devices and reveals itself as one more product in bunkerization era
O presente trabalho se debruça sobre o aparato da enunciação empregado por Marina Abramović, analisando como produz os modos de presença e efeitos de sentido. Com o corpus de 100 trabalhos da artista da década de 1970 a 2015 e enunciados que lhe dão visibilidade mediática de 2010 a 2016, o estudo objetiva mapear os mecanismos enunciativos desencadeadores de sentidos estésicos e patêmicos e desvelar o problema de como promovem os modos de presença de seu público a ponto de transformá-lo de observador a parte da ação artística. Toma como hipótese primeira, que a estratégia de visibilidade mediática de Abramović com a retroalimentação de informações sobre ela e suas ações diversifica seu público ao mesmo tempo que promove o fazer com o corpo e o sentir pelo ajustamento reativo. A segunda é de que a eficácia comunicativa do Método Abramović por ela desenvolvido ocorre pelo contágio das presenças do próprio público, propondo a retomada do corpo na era da comunicação virtual, sendo esses os mecanismos empregados para a sedução e modalização do destinatário para que ele participe. Fomentada pelas lacunas encontradas na história da arte, centrada no processo do artista, no objeto artístico e/ou no contexto de produção, essa investigação fundamenta-se na semiótica discursiva, que considera as relações comunicativas e comunicacionais entre a performance e público, os regimes de interação entre público e arte e a experiência sensível vivida. Dentre os autores que alicerçam a investigação, destacam-se Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira e Eugênio Trivinho. A metodologia compreende a análise do corpus com base no percurso gerativo do sentido, o mapeamento das estratégias de visibilidade de Abramović e a análise do Método. Os resultados apontam: o predomínio da temática da autoconsciência, dos valores imaterial e material e a ênfase na figura do corpo dos participantes com o Método Abramović; a eficácia da estratégia comunicacional da artista e o desencadeamento de ações contrárias ao procedimento dela, todos retroalimentadores de sua figura provando a primeira hipótese; a eficácia comunicativa do Método por meio do contágio das presenças, podendo ser mediado por dispositivos eletrônicos, fazendo sentir simultaneamente à propagação do Método, que apresenta-se como condição de enunciação modalizadora do ser e do fazer da alteridade; o sentir do nosso tempo se dá por meio do ajustamento reativo mediado pelos dispositivos eletrônicos e revela-se como mais um produto na era da bunkerização
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Clemente, Mariana Braga. "Moda e modos de consumo no Brasil do século XX: revistas e a construção de aparências." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4758.
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Previous issue date: 2015-12-15Conselho Nacional de Desenvolvimento Científico e Tecnológico
This research investigates how the magazines act in building fashion as the features of appearance in the several and recurrent modes of consumption, and how the announced media visibility has become a part of the individuals identity in Brazil. The main goal is to investigate fashion while an aesthetic making that goes beyond clothing and, hypothetically, would build these ways of life by the appearance. Understanding that the construction of identities implies the construction of alterities, this research also examine how those alterities come out at media discourses, and how are they articulated to build and delineate through fashion the individuals identities. It seizes the fashion in its widest sense, while a fashion from the social and tests the hypothesis that fashion would be a social builder. The corpus consists of an extensive amount of ads, raised in 36 editions of three Brazilian illustrated magazines of the 20th century: Fon-Fon, O Cruzeiro and Manchete, because in them it can be found not only stricto sensu fashion, but also the fashion that goes beyond clothing, and delineate lifestyles. These analyses reach the object of study from 1910 to 1990, composing a representative period of time, when society has been through drastic socio-cultural-historical (trans)formations. For these purposes, we resorted the discursive semiotics of A. J. Greimas and the continuity given by Eric Landowski with socialsemiotics. For understanding fashion as an object of semiotics, are approached some Ana Claudia de Oliveira and Kathia Castilho studies. For a deeper study in the object synchronicity and in the incorporation processes of fashion and its manners, are used the mechanisms of intertextuality and interdiscursive by Norma Discini and José Luiz Fiorin. For the plasticity analysis of media, the studies of Jean-Marie Floch and Ana Claudia de Oliveira. By mapping those ads, five categories of consumption were find and determined as modes of consumption; regarded as individuals modes of presence, were stablished in each category those who show dressed bodies. We concluded that is with and by the ruptures of the ways of dressing up that the fashion or the modes of appearance also disrupt in the various modes of consuming, developing cycles of new practices and (re)constructions of meaning. In this context, the magazines had important roles while forming those consumers of fashion and manners. Thus, the individual develops its taste for appearance, building itself by fashion and its consumption cycles, while a social being for itself and for another individuals
A presente pesquisa investiga como as revistas atuaram na construção da moda enquanto feições da aparência nos vários e recorrentes modos de consumir e, também, como a visibilidade midiática anunciada tornou-se partícipe da construção identitária dos sujeitos no Brasil. Objetiva-se investigar a moda enquanto um fazer estético que vai além da vestimenta e, hipoteticamente, a construção desses modos de vida, ou dos modos de parecer, seria o próprio fazer da moda. Compreendendo que a construção de identidades pressupõe a construção de alteridades, objetiva-se também analisar como as alteridades são presentificadas nos discursos midiáticos e como são articuladas para construir e delinear identidades dos sujeitos na e pela moda. Apreende-se a moda em seu sentido mais amplo, enquanto uma moda do social e, testa a hipótese de que a moda seria constituinte do social. O corpus é formado por um vasto corpo de anúncios, levantados em 36 edições de três revistas brasileiras e ilustradas do século XX: Fon-Fon, O Cruzeiro e Manchete, pois nelas são presentificadas não somente a moda stricto sensu, mas a moda que ultrapassa a vestimenta e constitui estilos de vida. Essas análises cobrem o objeto de estudo desde 1910 até 1990, compondo um período representativo do século XX, no qual a sociedade passou por drásticas (trans)formações sócio-histórico-culturais. Recorreu-se à semiótica discursiva de A. J. Greimas e a continuidade dada por Eric Landowski com a sociossemiótica. Para compreensão da moda enquanto objeto da semiótica, são abordados estudos de Ana Claudia de Oliveira e Kathia Castilho. Para um aprofundamento na sincronicidade do objeto e nos processos de incorporação da moda e dos modos, utilizam-se os mecanismos de intertextualidade e interdiscursividade de Norma Discini e José Luiz Fiorin. Para a análise da plasticidade das mídias, os estudos de Jean-Marie Floch e Ana Claudia de Oliveira. Por um mapeamento dos anúncios, encontramos cinco categorias de consumo que determinam modos de consumir; encarados enquanto modos de presença do sujeito, foram delimitados em cada categoria os que presentificam corpos-vestidos. Averiguamos que é com e pelas rupturas programadas da moda vestimentar que a moda ou modos de parecer também se rompem, nos vários modos de consumir, desenvolvendo ciclos de novas práticas e (re)construções de efeitos de sentido. Nesse contexto, as revistas tiveram papéis enquanto formadoras de sujeitos consumidores de moda e de modos. O sujeito, assim, desenvolve seu gosto pela aparência, construindo-se pela moda e seus ciclos de consumo, enquanto ser social para si e para o outro
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Ribeiro, Camila dos Santos. "Semiótica e tensividade: o fazer missivo, seus desdobramentos teóricos e modos de aplicação." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-16112010-113122/.
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Recentemente, a semiótica greimasiana vem assistindo ao desenvolvimento de uma nova posição quanto à abordagem do universo de sentido. A chamada semiótica tensiva, desenvolvida principalmente por Claude Zilberberg, traz à baila a discussão de alguns problemas não explorados ou não esclarecidos pelo modelo de Greimas como, por exemplo, a possibilidade da análise dos conteúdos sensíveis ao lado dos conteúdos inteligíveis esses já contemplados pelo percurso gerativo do sentido canônico; ou ainda o movimento de transvalorização de um nível a outro. Em meio a tamanha renovação do modelo greimasiano, Zilberberg publica, em 1986, o texto Pour introduire le faire missif, contido na revista de estudos semióticos RSSI. Logo de início, Zilberberg nos apresenta o conceito de missividade como uma tentativa de dar à sintaxe seu espaço merecido na teoria semiótica, de modo que aquela não mais fosse vista apenas como mobilizadora da semântica e sim como possuidora de uma atividade que lhe é própria. A missividade é então dividida em dois fazeres básicos: um remissivo, o qual promoveria a parada, e um emissivo, o qual instituiria a parada da parada. É ao encontro do conceito de missividade introduzido por Claude Zilberberg e ao seu posterior caminhar na semiótica tensiva que nossa pesquisa se apresenta. Em paralelo, nos utilizaremos de textos literários de dois autores contemporâneos brasileiros Delmo Montenegro e Valêncio Xavier para a aplicação prática do fazer missivo e outros conceitos tensivos. Ao longo de nossa dissertação caminharemos, pois, em duas direções: a releitura e síntese do desenvolvimento do conceito de missividade no modelo tensivo e a extensão e vantagem de sua aplicação em textos literários.Recently, Greimasian semiotics has seen the development of a new position regarding the approach of the universe of meaning. The so-called tensive semiotics, developed mainly by Claude Zilberberg, brings forth the discussion on some issues neither explored nor clarified by Greimas\'s model such as, for instance, the possibility of analyzing sensitive contents along with intelligible contents already contemplated by the canonical generative trajectory of meaning; or still the movement of transvaluation from one level to another. Amid such renewal of the Greimasian model, Zilberberg publishes, in 1986, the article \"Pour introduire le faire missif\" situated in RSSI magazine. Right from the beginning, Zilberberg presents us the concept of le faire missif as an attempt to give syntax its deserved space in semiotics, so that the former would not be seen simply as a mobilizer of semantics, but possessing its own activity. Such concept (le faire missif) is then divided into two basic activities: a remissive (rémissif) one, which would promote the continuity of the process, and an emissive (émissif) one, which would promote the halt of the process. Our research currently moves towards the concept of le faire missif introduced by Claude Zilberberg and its subsequent path in tensive semiotics. Meanwhile, we will make use of literary texts by two contemporary Brazilian writers Delmo Montenegro and Valêncio Xavier for the practical application of the missive activity and other tensive concepts. During our dissertation we will then move in two directions: re-reading and synthesizing the development of the concept of le faire missif in the tensive model and the extents and advantages of its application in literary texts.
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Eriksson, Emelie. "Patterns of corporate visual selfrepresentation in accounting narratives." Licentiate thesis, Linköpings universitet, Industriell ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-142406.
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This dissertation deals with firms’ visual and pre-visual self-representations in accounting narratives. Self-representations are those descriptions about the company that firms include in accounting narratives to convey the current standings and their identity. External stakeholders increasingly expect non-numerical information about firms to be disclosed, and accounting narratives are a key medium for firms to account for their activities and maintain legitimacy as social actors. The question of which reporting conventions exist for legitimating selfrepresentations, especially from a visual perspective, remains unexplored. The purpose of this study is therefore to explore the empirical phenomenon of self-representations in accounting narratives in relation to legitimation rhetoric. The study is based on three research papers dealing with different patterns of self-representations in accounting-related narratives, including corporate reporting and business model diagrams. The examples are viewed through the theoretical lenses of semiotics and institutional theory, particularly legitimation theory. The study combines visual methods (visual content analysis and visual taxonomy) with other methods (interviews, text analysis) to conceptualize and exemplify what is meant by self-representations in accounting narratives. The study finds that there may be multiple parallel pre-visual self-representations at play to influence representations of the self, that visual self-representations are becoming more common in accounting narratives, and that several rhetorical strategies for legitimation are observable in these representations. By showing how diagrams can serve a legitimating purpose in accounting narratives, it is argued that diagrams should be considered on par with graphs and photographs as visual rhetorical devices in accounting narratives, and that they could be used as key communicative elements in the accounting process. Second, based on the longitudinal and comparative examples of self-representations, it is suggested that self-representations increasingly refer to abstract rather than concrete referents. This change is discussed in terms of the increasingly digital and service-based knowledge economy, where material referents give way to “amaterial” values. The contribution of this study is to describe selfrepresentations through several empirical examples, and to thereby increase awareness among practitioners and researchers of how visuals serve as communicative resources with legitimating functions in accounting narratives. Four concepts are proposed as tools for explaining the observed developments, and for improving visual literacy with regard to accounting narratives: inclusive perspective on accounting narratives, amateriality, self-representation, and diagrams.Denna licentiatavhandling handlar om företags visuella och ”för-visuella” själv-representationer i kontexten redovisning. Till självrepresentationer hör de beskrivningar som företaget inkluderar i sin externt rapporterade information för att förmedla dess ställning och identitet. Externa intressenter förväntar sig i ökande utsträckning att även icke-numerisk information redovisas av företaget, vilket gör denna typ av externt rapporterade information viktig för att redovisa aktiviteter och för företag att därigenom bibehålla legitimitet som sociala aktörer. Frågan om vilka rapporteringskonventioner som finns kring företags självrepresentationer är i dagsläget inte utforskad. Syftet med denna studie är därför att undersöka det empiriska fenomenet självrepresentationer i kontexten redovisning kopplat till perspektivet legitimeringsretorik. Studien baserar sig på tre forskningsartiklar som behandlar olika empiriska exempel och mönster av självrepresentationer, exempelvis affärsmodellsdiagram. Dessa betraktas utifrån de teoretiska linserna semiotik och institutionell teori, speciellt legitimeringsteori. Studien kombinerar visuella metoder (visuell innehållsanalys och visuell taxonomi) med andra metoder (intervjuer och textanalys) för att konceptualisera och exemplifiera vad som menas med självrepresentation i kontexten redovisning. Studien finner att det kan förekomma många parallella för-visuella självrepresentationer som påverkar företags självuppfattning, att visuella självrepresentationer blir alltmer vanliga i företags externt publicerade information, och att flera retoriska legitimeringsstrategier förekommer i det undersökta materialet. Genom att visa hur diagram används som kommunikationsresurs så argumenterar studien för att fortsatt forskning behövs för att undersöka hur diagram, likt mer utforskade visuella format såsom grafer och fotografier, bidrar till företags legitimeringsretorik i externt publicerad redovisningskommunikation, samt att diagram kan fungera som viktiga resurser för självrepresentation i företags redovisningsprocess. Dessutom föreslås, baserat på longitudinella och jämförande exempel, att självrepresentationer i ökande grad relaterar till abstrakta snarare än konkreta referenter. Denna förändring diskuteras i termer av en alltmer digital och tjänstebaserad kunskapsekonomi, där materiella referenter överges till förmån för ”amateriella” värden. Studiens bidrag är att beskriva själv-representationer genom flera empiriska exempel, och att därmed öka medvetenheten hos praktiker och forskare om hur visuella format kan tjäna legitimeringssyften i kontexten redovisning. Baserat på studiens analys och resonemang lyfts fyra begrepp fram för att förklara den observerade utvecklingen, samt för att bidra till att förbättra praktikers såväl som forskares ”visuella läskunnighet”: ett inkluderande perspektiv på externt publicerad information, amaterialitet, självrepresentation, och diagram.
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Oyágüez, Reyes Esther. "Laberinto, violencia y parodia : Análisis textual de Pólvora Negra de Montero Glez." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-16304.
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This essay examines how the image of the labyrinth appears in the novel Pólvora Negra (2008) by Montero Glez, a novel that we inscribe into the Spanish postmodern literature tradition. The hypothesis of this essay is that the labyrinth works as a main theme or a macro theme for the novel since it recurs frequently and at the same time contains other topics, such as violence. Our analysis shows, using a structural semiotic method, that the presence of the labyrinth occurs in four different ways in the text. The first is in the physical landscape since Madrid in the beginning of the 20th century, the space in which the novel is ambiented, is a labyrinthine town with small, dark, dirty and bad smelling streets. The second is in the structure of society, which is also labyrinthine since it represents an unjust and corrupt social order that is more obvious among the political leading class but that has an effect on all the segments of society. The third is that the physical and mental trayectories of the three main caracthers in the novel are labyrinthine, which is something that the reader can notice throughout the text. The fourth is that the novel itself has a labyrinthine narrative which means that the reader’s project also manifests itself as labyrinthine. The reader of Pólvora Negra has to deal with both the labyrinth in the text and the labyrinth of the text. This essay analyzes the narrator’s voice as well as its function in the novel. The use of parody is abundant in the novel. Two kinds of parody are founded: the historical parody and the parody of the criminal novel.
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Medeiros, Lindjane dos Santos Pereira de. "Chega mais perto e contempla as palavras: os modos de representação em A Rosa do Povo." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8291.
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The poetry of Carlos Drummond de Andrade (CDA), as a form of representation, is the object of this research that has the proposal of analyzing seven poems from A Rosa do Povo (1945) based on the semiotics developed by the North American Charles Sanders Peirce in the end of the nineteenth-century. Our central question is: which aesthetic effects are provoked by the iconic, indicial and symbolic forms of representation in these poems of Drummond? The application of Peircean semiotics to the work of CDA expands the reading possibilities of his poetry, as long as it highlights the process of representation and ratifies the poet’s craft with language, showing that in A Rosa do Povo he explores the icon, the index and the symbol in a very balanced way, using the various signifying potentialities of the word.
A poesia de Carlos Drummond de Andrade (CDA), como forma de representação, é o objeto desta pesquisa, que tem como proposta a análise de sete poemas de A Rosa do Povo (1945) com base na semiótica desenvolvida pelo norte-americano Charles Sanders Peirce, no final do século XIX. A nossa questão central é: que efeitos estéticos são provocados pelos modos de representação icônico, indicial e simbólico nestes poemas de Drummond? A aplicação da semiótica peirciana ao texto de CDA amplia as possibilidades de leitura da sua poesia, ao destacar o processo de representação, e ratifica o trabalho do poeta com a linguagem, mostrando que, em A Rosa do Povo, ele explora o ícone, o índice e o símbolo de forma bastante equilibrada, usando as diversas potencialidades sígnicas da palavra.
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Khosravani, Yasamin [Verfasser]. "Translation Quality Assessment (TQA) of Subtitles : Criteria for the Evaluation of Persian Subtitles of English Movies Focusing on Semiotic Model of TQA for Poetry Translation and Appraisal Theory / Yasamin Khosravani." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1202694748/34.
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Lacy, Rachel. "Hamlet's Objective Mode and Early Modern Materialist Philosophy." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32430.
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Hamlet's tragedy is constructed as a perspective of matter that is destined for decay, and this "objective," or "object-focused," mode of viewing the material world enhances theatrical and theological understandings of the play's props, figurative language, and characters. Hamlet's "objective mode" evokes early modern materialist philosophies of vanitas and memento mori, and it is communicated in theatre through semiotic means, whereby material items stand for moral ideas according to an established sign-signified relation. Extending an objective reading to Hamlet's characters reveals their function as images, or two-dimensional emblems, in moments of slowing narrative time. In the graveyard scene (5.1), characters and theatrical props cooperate to materialize the objective perspective. As a prop, Ophelia's corpse complicates the objective mode through its semantic complexity. Thus, she stands apart from other characters as one that both serves to construct and to deconstruct the objective mode. Hamlet's tragic outlook, which depends upon an understanding of matter as destined for decay, and of material items as ends in themselves rather than vehicles for spiritual transformation, is an early modern notion concurrent with theological debates surrounding the Eucharist. Drawing upon art-historical, linguistic, feminist, theological, and theatrical approaches, this thesis contributes to concurrent discourse on Hamlet's tragic genre.
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Fergusson, Annie. "Modes of engagement in theatrical documentary." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16415/1/Annie_Ferguson_Thesis.pdf.
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This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are:
'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode';
'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode';
'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode';
'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.
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Stefan, Cako. "The Foundational Myth of Russia : Explicating the puzzle behind the foundational myth of Russia and the construction of its contemporary geopolitics." Thesis, Södertörns högskola, Statsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39190.
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This dissertation examines the construction of the contemporary Russian geopolitics through the usage of the foundational myth, better known as the Third Rome myth and the center of true Christianity. This is achieved through the analysis of four famous speeches by President Vladimir Putin. These speeches cover the two regions of Ukraine and Georgia, the former being to an internal audience and the latter to a foreign audience. Accompanied with examining the foundational myth, this dissertation also deliberates on how it is being utilized by Putin. In his reconstruction of a new Russia, one that synthesizes the old ideas of greatness alongside the new set of geopolitics. The aims to fulfill are: Firstly, to broaden our understanding of the present and future Russian geopolitics. Secondly, through usage of the myth to develop our understanding of the new environment surrounding hybrid warfare. And especially politics, in form of soft power, that play a significant role where insight can help prevent future conflicts. The method of analysis is of qualitative nature. Speech act by Austin and Searle is employed in order to gain an overview and enable the construction of semiotic squares, that in turn facilitate the actantial models by Greimas.