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Oyama, Rumiko. "Visual semiotics : a study of images in Japanese advertisements." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/10019140/.
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The thesis begins an exploration of the way in which Japanese visual semiotics works. In this it focuses on the formal representations of visual elements: visual syntax. Specifically, this thesis examines the way in which visual representations are realisations of three types of semiotic metafunctions: the Ideational, Textual and Interpersonal. In order to gain a clear idea about Japanese visual semiotics, I compare them with British counterparts in a relatively minor way. There is some consideration of Japanese and British cultural value systems as revealed through an analysis of the visual. It is widely accepted that language is rule-governed, and that the rules of this system are closely related to the social and cultural environment in which they are produced. This is the basis of most work in sociolinguistics, of a very wide variety. The same assumption, however, is not normally made of other semiotic modes such as the visual. This study uses advertisements as the data; and it is through that data that the issue of visual semiotics is considered. Advertisements are examples par excellence of the connection of cultural values and visual semiotics; they are also a rich source for the study of visual communication, and are widely available and comparable across Japanese and British cultures. To some small extent it shows how similarly and differently they are manifested in Japanese and British examples. The findings of the thesis point to quite specific organizations of visual representations in Japanese culture, and to differences between the two cultures. Such differences give rise to different kinds of reading with different meanings, and are therefore of great significance in a cross-cultural semiotic environment.
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Shields, Timothy Brian. "Seething brains : images of madness in the world of Shakespeare's plays." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390134.
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Lau, Man-chu Sunny, and 劉敏珠. "Postmodernism and semiotics: the tyranny of images of beauty on the female body and postmodern feminist resistance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950644.
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Lau, Man-chu Sunny. "Postmodernism and semiotics : the tyranny of images of beauty on the female body and postmodern feminist resistance /." [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13787305.
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Huang, Ying. "CONSTRUCTING THE WEST IN CHINESE MAGAZINE ADVERTISING: A CONTENT AND SEMIOTIC ANALYSIS." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/343.
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In the context of globalization, commercialization, and the increasing presence of Western images (Western models, Western languages, and Western settings) in Chinese society, this study examines how these images are constructed in Chinese magazine advertising. It utilizes quantitative content analysis, facilitated by semiotic analysis to approach issues of race, gender and power reflected in the images of the West. Methodologically, this study sees quantitative content analysis and semiotics as two complementary methods in the study of contemporary visually dominant print advertising. Theories in both social sciences and humanities were reviewed and brought into the analysis of data. Based on advertisements (N=2,882) from a stratified random sample of four months in 2009 in 19 Chinese consumer magazines (men's, women's and general interest), results of the study showed that images of the West are primarily represented by Western models, and White female models in particular. Focusing on advertisements for Chinese products and services, Western models in Chinese magazine advertising were found differently portrayed from their Chinese counterparts, in their frequency, the type of magazines they appear in, product/service categories they feature in, occupational status, the extent of nudity, and relation to product. When Western models were chosen for an ad, they served different roles than Chinese models. Close examination of individual advertisements from a semiotic perspective showed that Western female models were eroticized, while at the same time representing universal beauty; both Western male and female models were signs that signify quality, social status, luxury and enjoyment of good life; China's relation to the West is also complicated by the fact that China sees itself as a collaborator with the West in the economic domain, and at the same time, accepts the power of the West by romanticizing the colonial past. Overall, this study showed that images of the West in the Chinese context are multifaceted: they have different significations in different domains.
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Joaquim, Marina Guiglielmin de Godoy. "Imagens na comunicação do conhecimento em livros didáticos de química e física: uma análise à luz da semiótica peirceana." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/81/81132/tde-26052017-101455/.
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O presente trabalho visa contribuir para as reflexões acerca da filosofia da Química, em especial as relacionadas às estratégias e especificidades empregadas na comunicação de seu conhecimento. Como objeto de pesquisa apresentam-se as imagens empregadas nas discussões de conteúdos que são abordados em livros didáticos de Física e Química aprovados pelo Programa Nacional do Livro Didático de 2015 (PNLD - 2015), analisadas à luz da semiótica peirceana. Tais imagens, bem como seu contexto, foram analisadas sob duas perspectivas: o que se pretende comunicar, através da categorização das imagens frente ao tipo de conteúdo veiculado, e como tal comunicação é realizada, utilizando-se da classificação dos signos proposta pela semiótica peirceana. Em relação ao primeiro aspecto, percebeu-se que as imagens referentes ao \"Cotidiano\" e \"Laboratório e Experimentação\" predominam em ambas as disciplinas, com destaque para \"Gráficos\", nos livros de Física e \"Tabelas\", nos livros de Química. Quanto ao tipo de imagens apresentadas pelos livros há predominância de Fotografias e Desenhos, sendo que há mais desenhos nos livros de Física e mais Fotografias em livros de Química. Analisando a função das imagens presentes nos livros, pode-se inferir que elas são usadas principalmente para exemplificação e contextualização dos assuntos trabalhados, bem como representação dos aparatos usados para experimentação. Tendo esse uso, as imagens são majoritariamente sin-signos indiciais, pois representam um objeto existente. Há, no entanto, imagens que apresentam caráter mais icônico, uma vez que buscam representar e demonstrar o comportamento das partículas submicroscópicas. Uma vez que essa iconicidade reflete um tipo de postura adotado pelos autores do livro, percebeu-se que os livros de Química tendem a ter posturas mais realistas que os livros de Física, uma vez que foi observado a presença de mais imagens icônicas, que representam e \"materializam\" as partículas presentes nessas representações.<br>This work aims to contribute to the reflections on the philosophy of Chemistry, those related to the strategies and characteristics used in the communication of their knowledge. As a research object are the images used in the content of discussions that are covered in textbooks of Physics and Chemistry approved by the National Textbook Program 2015 (PNLD - 2015), analyzed in the light of Peirce\'s semiotics. Such images and their context were analyzed from two perspectives: what you want to communicate through the categorization of images of the type of content posted, and as such communication is carried out, using the classification of the proposed signs by Peirce\'s semiotics. Regarding the first point, it was noticed that the images for the Daily Life and Laboratory and Experimentation predominate in both disciplines, especially charts in Physics Books and tables in Chemistry books. Regarding the type of images displayed by the books there is a predominance of Photographs and Drawings, there are more designs in Physics books and more photos in Chemistry books. Analyzing the function of these images in the books, it can be inferred that they are mainly used for exemplification and contextualization of the issues worked as well as representation of the objects used for experimentation. With this use, the images are mostly indexical sin-signs, they represent an existing object. There are, however, images that have more iconic character, since seek to represent and show the behavior of submicroscopic particles. Since this iconicity reflects a posture adopted by the authors of the book, the Chemistry books tend to have more realistic positions that Physics books, as it was observed the presence of the most iconic images representing and \"materialize\" the particles present in these representations.
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D'Andreamatteo, Rosane Mendes Silva. "Análise semiótica de publicidade médica em aulas de inglês instrumental." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2006. http://www.repositorio.ufba.br/ri/handle/ri/11412.
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Previous issue date: 2006<br>Em busca de uma aplicação prática das estratégias utilizadas no ensino de Inglês Instrumental, este trabalho se propôs a explorar o poder pictórico do texto publicitário, que contempla uma rede de signos visuais e verbais, na atividade de leitura no curso de Medicina. Visou, também, oferecer um checklist sugerido pela pesquisadora para ser utilizado em aulas de inglês instrumental, de forma a servir de coadjuvante para que o aprendiz processe com mais eficiência os textos analisados. Teve como base a Semiótica visual, de Peirce e Barthes; a Análise do Discurso I proposta por Foucault e os Estudos Culturais da imagem de Kress e Van Leeuwen.<br>Salvador
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Lindqvist, Linda. "Views of the Ending of the Cold War : A case study that compares multimodal images in Swedish newspapers and history textbooks." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77701.
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This study compares how newspaper yearbooks and current upper secondary school history textbooks represent the Cold War between the years 1985-1991. As earlier research, this multimodal study focuses discourses and images. In addition I examine the usefulness of mediatization as illuminating tool in this context. For these aims, I have constructed a three-step model, in which concepts from mediatization theory are operationalized, and combined with Theo Van Leeuwen’s social semiotic theory. This thesis compares 356 representations from two yearbooks to 16 ones from three textbooks. At present, historical images are neither addressed nor regulated in the national curriculum, yet both educators and researchers within the field of education address them. The contribution of this paper is hence to shed light on the complexity of images, which shows how their meanings, including degree of mediatization, depend on context. Thereby I add a new aspect to multimodal literacy research.
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Häggblom, Jeanette, and Emma Lindahl. "En bild säger mer än tusen ord : En analys av GQ Magazines omslagsbilder och årskurs 9 elevers tolkning av dem." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-99322.
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A picture says more than thousand words - an analysis of GQ Magazine´s cover images and ninth grade student´s views of them is an essay in media and communication studies covering 15 hp. This essay examines how men and women are depicted on the cover of GQ Magazine and how ninth grade students perceive these images. Our research questions are: How is gender presented in cover images? How do the students interpret these images? What possible differencies or similarities are there? Our theoretical framework is based on gender theory. Methods used are a survey conducted at Tegs Central school and a semiotic analysis of the cover images. We have to keep in mind that the cover images already have a stereotypical representation of the women and men, and that will automaticly affect the students answers. The essay shows that the semiotic studie describes profound thaughts on connotation terms. The survey studie shows that the students have the ability to analyse GQ Magazine´s cover images in a denotation level. Since the social problem is about what images says and what possible affect they have on the viewer. It is therefore important to have a critical mind when it comes to analyse images and be aware of these general representations of gender.
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Alač, Morana. "How brain images reveal cognition an ethnographic study of meaning-making in brain mapping practice /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3222050.
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Thesis (Ph. D.)--University of California, San Diego, 2006.<br>Title from first page of PDF file (viewed September 19, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Wilson, Anna Naomi. "What is, and what might be, learned from images shared during Twitter conversations among professionals?" Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24371.
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This thesis explores the pedagogical potential of images shared during intra-professional conversations held on the social media platform, Twitter. Twitter chats are loosely synchronous exchanges of tweets sharing a unique, identifying keyword or hashtag. They are increasingly being used among professionals to create professional networks in which practice-knowledge and opinion might be shared and where communal connections may be created. As such, they may serve as sites in which professional learning unfolds, both in relation to workplace practices and in relation to the development of new forms of professional practice around social media use. Because the exchanges and broadcasts on Twitter are, for the most part, public, and the conversations are ongoing, they also provide open, freely-accessible, and constantly renewing resources for use in pre-service learning contexts. The research focused on two example chats, one held among midwives and the other among teachers. Inspired by the increasing use of images in new forms of digital communication, the research used images tweeted during the chats as starting points from which to explore flows of knowledge and affect. Data were generated from observations of the two Twitter chats over extended periods, together with interviews with practising professionals, student professionals and their educators in which images were used as elicitation devices. The research combined an approach to reading and “being with” data inspired by ideas drawn from the work of Deleuze (1994; Williams 2013) and Deleuze and Guattari (1988; Massumi 1992), with approaches to reading images drawn from visual social semiotics (Kress and van Leeuwen 1996). The findings suggest that Twitter chats such as those studied here can provide rich opportunities for professional learning. Practice knowledge can flow from one participant to many others, and flows of affect can be used to remoralize individuals and communities. Both chats seemed to serve as sites in which professionals could experience a positivity and affirmation that was not always available in the workplace. However, the forces and intensities at play in these spaces influence both what is said and what is not said, creating new norms of online interaction that generally seemed to avoid negative comments or open disagreement. Educators saw potential to use images such as those shared in the chats in a variety of ways. For example, images could be used as prompts for examination and critique of practices. The educators I interviewed also suggested that the images could be used to help student professionals develop their sensitivity to the forces and intensities that produce particular practices. Group interviews with student professionals suggested that the former happened spontaneously when students encountered and discussed such images, but that the latter might need deliberate facilitation or prompting. The thesis concludes with some recommendations for: (i) educators considering using such images in pre-service professional learning; (ii) professional developers considering using Twitter chats; and (iii) policy-makers involved in drafting guidelines for professionals’ use of social media.
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Landgren, Elsa. "Hopp och kunskap : Att kommunicera känslor med bilder." Thesis, Blekinge Tekniska Högskola, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12169.
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Vi lever i ett samhälle där bilder ständigt ökar i betydelse. Viktiga och växande kommunikationskanaler är hemsidor på internet och sociala medier. Företag och organisationer använder ofta sin hemsida för att förmedla vilka värden företaget eller organisationen vill stå för. Det blir då viktigt att inte bara förmedla fakta utan även få fram önskad känsla i budskapet. Det är inte alltid lätt att veta hur man ska uttrycka sig i visuell form för att förmedla den känsla man vill framhäva, det är svårt att veta hur bilden påverkar och styr oss som betraktare. I min undersökning så tar jag upp frågan om hur man kan utrycka sig i visuell form för att förmedla känslor över webben med hjälp av bilder och layout. Specifikt så har jag valt att i min undersökning studera hur man kan förmedla hopp på en cancerorganisations hemsida. Tidigare forskning om definitionen av en bild och interaktionen mellan betraktare och bild ligger till grund för min undersökning. Utifrån min fråga om hur man kan förmedla hopp, så har jag gjort en diskursanalys av hemsidor för organisationerna Cancerfonden och Ung Cancer. En enkät och en gruppintervju har gjorts för att se hur dessa hemsidor uppfattas av olika målgrupper när det gäller förmågan att förmedla känslan av hopp. Undersökningens slutsatser har sedan använts för att gestalta en ny projekt-hemsida som ska drivas av en liknande organisation, Barncancerfonden. En preliminär version av denna hemsida presenteras och de specifika elementen diskuteras baserat på tidigare litteratur och undersökningens resultat.<br>We live in a society where images are increasingly growing in importance. Important new communication channels are websites on the Internet and social media. A website is often used by companies and organizations to communicate the values of the company or organization. It then becomes important to not only convey facts but also produce the desired sense of emotion. It is not always easy to know how to express oneself in a visual form to convey the feeling you want to emphasize since it is difficult to know how the image affects and guides us as viewers. In my investigation I will take up this issue in order to discuss how to convey emotions over the web using pictures and layout. Specifically, I have chosen in my study to examine how to convey a sense of hope through a cancer organization's website. Previous research on the definition of an image and the interaction between viewer and image is the basis for my investigation. Based on my basic question about conveying hope I have made a discourse analysis of two existing websites. A questionnaire and a group interview have also been carried out in order to see how these websites are perceived by different target groups with regard to the ability to convey the feeling of hope. A comprehensive discussion of the results is reported. The conclusions of the investigation have then been used to design a new prototype website for a similar organization, the Children's Cancer Association. The preliminary version of this website is presented and the specific parts of this website are discussed based on previous literature and the results of the investigation.
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Meyer, Renate, Markus Höllerer, Dennis Jancsary, and Leeuwen Theo van. "The visual dimension in organizing, organization, and organization research: Core ideas, current developments, and promising avenues." Taylor & Francis Group, 2013. http://dx.doi.org/10.1080/19416520.2013.781867.
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With the unprecedented rise in the use of visuals, and its undeniable omnipresence in organizational contexts, as well as in the individual's everyday life, organization and management science has recently started to pay closer attention to the to date under-theorized "visual mode" of discourse and meaning construction. Building primarily on insights from the phenomenological tradition in organization theory and from social semiotics, this article sets out to consolidate previous scholarly efforts and to sketch a fertile future research agenda. After briefly exploring the workings of visuals, we introduce the methodological and theoretical "roots" of visual studies in a number of disciplines that have a long-standing tradition of incorporating the visual. We then continue by extensively reviewing work in the field of organization and management studies: More specifically, we present five distinct approaches to feature visuals in research designs and to include the visual dimension in scholarly inquiry. Subsequently, we outline, in some detail, promising avenues for future research, and close with a reflection on the impact of visualization on scientific practice itself. (authors' abstract)
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Pool, Joey. "Roll, Duck, & Cover! : A collaboratively produced, critical game that generates a discussion around the visual representation of nuclear warfare in media." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76429.
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This research project explores how we can apply Emerging Design Landscapes such as Critical Design and Collective Creativity, in combination with traditional fields of visual communication to address societal challenges in cooperation with society. In particular, this paper aims to question the visual representation of nuclear warfare, and how we could utilize Peircean Semiotics to better understand set representation. The design outcome is a critical board game that at its core aims to create a discussion around the visual representation of nuclear warfare today and act as a learning platform that would help its user better understand the practice of semiosis.
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Leonidas, Bernade. "Black Lives matter : En semiotisk analys av bilden av svarta barn i UNICEF:s och SOS Barnbyar:s reklamkampanjfilmer. En undersökning av hur UNICEF:s och SOS Barnbyar:s reklamkampanjfilm uppfattas av människor med olika etnisk bakgrund." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22532.
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Syftet Syftet med den här uppsatsen är att undersöka bilden av svarta barn i UNICEF:s och SOS Barnbyar: s reklamkampanjfilmer och hur barnen framställs i filmerna. Jag vill också undersöka hur UNICEF:s och SOS Barnbyar: s reklamkampanjfilmer uppfattas och påverkar människor med olika etnisk bakgrund. Metod En semiotisk analys av rörliga bilder i denna uppsats gjorts för att undersöka hur UNICEF:s och SOS Barnbyar: s framställer svarta barn i sina reklamkampanjfilmer. En strukturerad gruppintervju har gjorts för att studera människors attityd. Materialet som används är, två reklamkampanjfilmer med rörliga bilder, och en intervju med en fokus grupp som består av sju personer från olika etniska bakgrunder. Resultat Resultaten visar att de bilder som används i reklamkampanjfilmerna framställer svarta barn som djur, som barbarer och som aggressiva. Resultaten från fokusgruppen visar att icke-vita människorna i gruppen är arga för att reklamen framställer svarta barn i filmerna på ett sätt som visar barnen som icke mänskliga. De vita människorna i gruppen är arga, inte bara för att organisationerna använder barnen till sin fördel, men de menar också att på grund av de här organisationerna, kommer de ständigt att bli påminda om och ses som rasister.<br>Purpose The purpose of this study is to examine the image of black children in UNICEF’s and SOS Children’s Villages campaign films. And as well to find out how UNICEF’s and SOS Children’s Villages campaign films received by differnt people in Sweden and, in which way these advertising films could influence these people. Method A semiotics analysis of moving images have been done in this paper, in a way to examine how black children have been portrayed in those advertising films. And also a structured interview have been done in this paper to investigate the attitude that people in Sweden have towards those moving images that show on those advertising films. The Materials that used for this investigation are, two advertising films with moving images and an interview with a focus group composed of seven people from different ethnics background. Results The results have shown that those moving images using on those advertising films portrayed black children as animals, as barbarians, as aggressive. And the results of the focus group interview have shown that non-white people living in Sweden are angry because those campaigns films using black children in a way that show them as non-human. While white people living in Sweden in the group are angry because not only that these organizations using these children to their own benefits, but they also think that because of these organizations, they will be constantly reminded and seen as racists.
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Morris, Sharon Mary. "Shifting eyes : self-representation in words and images, re-reading Freud through the semiotics of C.S. Peirce, with particular reference to the work of poet H.D. and artist Claude Cahun." Thesis, University College London (University of London), 2000. http://discovery.ucl.ac.uk/46810/.
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'Shifting Eyes', presents a re-reading of Freud’s structural theories of the self, through the semiotics of C.S. Peirce. In place of the self split between unconscious representations and the syntax of speech, Peirce’s general sign theory provides an evolutionary account of symbol development within a trichotomy of sign-object relations, icon, index and symbol, as opposed to interpretations of Freud using the linguistic sign which reify the split subject and assimilate unconscious processes to the tropes of language. Peirce’s sign-interpretant relation, is used to re-describe Freud’s account of the shift from narcissism to object relations, from the primary iconic dyad to the subject constructed through the symbol of sexual difference. One class of icons, the hypoicon, is evaluated as a representation of the subject, since the hypoicon, unlike the symbol, does not uphold contradiction. Metaphor, as hypoiconic Third, is compared with Freud’s account of the structure of identification, both in terms of ego development and dream formation. The second part of the thesis uses these concepts to interpret the work of author H.D. and artist-writer Claude Cahun. H.D.’s œuvre - poetry, novels, memoirs and autobiography - lay bare the structure of the subject through the semiotics of the text, in particular transference and the act of naming. The poetry demonstrates the boundary between ego and world, myth and ideals of the ego, as the semiotics of identification. Cahun’s photographic self-portraits raise questions of the relation between body-image and narcissism, ideals and the subject of sexual difference. The last chapter concentrates on 'Aveux non avenus', (1930a) a work which integrates text and image using the principles of collage, juxtaposing photomontages with fragments of dream, fantasy, polemic and fiction as an extension of self-representation. In conclusion, the signifying self, as hypoiconic Third, is related to the body, re-posing the question of desire.
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Mazmanian, Aznive. "La sémiologie de l'image fixe dans les manuels de FLE : Représentations et usage interculturels." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030076.
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Cette recherche montre l’usage, la représentation culturelle, l’intérêt sémiologique et pédagogique des images fixes se trouvant dans huit manuels de FLE, édités en France. Ces images peuvent être un moyen efficace pour transmettre à un apprenant étranger la langue et la culture françaises. Les codes, les signes peuvent porter en germe des messages riches pour la communication langagière et la communication culturelle et interculturelle. Notre constat est le suivant : la plupart de ces images ne répondent pas à la directive du CECR : à savoir de renouveler les manuels d’enseignement des langues et des cultures étrangères. Certes, les textes ont évolué, mais les images n’ont pas été renouvelées. Elles restent limitées, à un support pédagogique secondaire d’illustration et d’information. Trop souvent, elles sont opaques ou représentent une France stéréotypée. Mais il y a des exceptions avec des images culturelles montrant la société française contemporaine. - Dans un premier temps, nous présentons l’évolution de l’enseignement et des méthodes de FLE, le rôle des représentations culturelles dans cet enseignement, la sémiologie et ses éléments, l’effet et les messages d’une image. - Puis, dans un second temps, nous analysons les images fixes : l’identification de ces images comme objet pédagogique, la rhétorique pédagogique et culturelle de ces images. Chaque analyse se termine par un tableau statistique. Nous concluons par des suggestions pour développer la rhétorique sémiologique et l’effet pédagogique des images fixes dans les manuels de FLE, car elles sont essentielles pour rendre l’enseignement de la langue et de la culture française plus efficace<br>This search will describe how images in the eight FLE [French as a Foreign Language] textbooks published in France are used, are culturally representative, and are of interest from semiological and pedagogical points of views. These images can be an efficient way to teach the French language and culture to foreign learners. Codes and signs can contain rich messages that will help communication on linguistic, cultural, and intercultural levels. The research for this paper has led to the following ascertainment—most of these images do not respond to the CEFR guidelines for updating foreign language-culture textbooks. Though the texts have evolved, the images have remained the same. They still serve only a secondary pedagogical role—to illustrate and provide information. Most of the time, they are superficial or show only clichés of France. There are exceptions, however. Some images portray contemporary French society. The first section of this paper will present the evolution of teaching methods in the field of FLE, the role of cultural representations within that teaching, the science of semiology and its elements, and the effect and messages that images can produce. The second section will concentrate on the analysis of the images—identifying them as pedagogical tools and discussing their cultural and pedagogical content. Each analysis will include a table of statistics
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Ferraz, Thien Spinelli [UNESP]. "Pensamento e criatividade: Uma abordagem à luz da semiótica peirceana." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91751.
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ferraz_ts_me_mar.pdf: 1223197 bytes, checksum: 89126538ad732e720908d0ec00a038c4 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Nesta dissertação buscaremos discutir em que sentido o desenvolvimento de novas mediações cognitivas possibilita o surgimento de originais campos de exploração da atividade criativa. Em um primeiro momento veremos como perspectivas filosóficas estão articuladas em pesquisas da Cibernética, da Ciência Cognitiva e da Sistêmica. Em seguida, analisaremos a perspectiva epistemológica mecanicista a partir da qual estas ciências, em maior ou menor grau, abordam problemáticas acerca do que constitui o pensamento, a informação e a criação. Refletiremos em que medida o mecanicismo é limitado em sua abordagem das relações mantidas entre pensamento, criação e símbolo, de modo que a Semiótica de C. S. Peirce pode nos oferecer uma abordagem mais consistente das correlações entre símbolos, signos e pensamentos. Procuraremos discutir em que medida a Semiótica peirceana, construída a partir de sua Fenomenologia, concebe planos de intensidade de qualidades, relações e mediações presentes em dimensões da experiência. Investigaremos os argumentos de Peirce quanto à impossibilidade de redução do pensamento e da criatividade a procedimentos mecânicos, pois haveria aí a desqualificação de uma genuína manifestação do acaso na experiência de um pensamento. Assim, ao problematizarmos os quali-signos como campos de manifestação da criatividade, apontaremos para o papel do ícone na exploração da corporeidade de signos que emergem das interfaces cognitivas de sistemas artificiais. Então, refletiremos sobre a Cibercultura enquanto um paradigma de nossa condição sociocultural contemporânea, passando a investigar nela manifestações da atividade criativa através das interfaces estabelecidas entre sistemas semióticos heterogêneos. Por fim, questionaremos de que forma as imagens sintéticas expressam explorações criativas de dimensões semióticas nas quais...<br>In this thesis we shall discuss the way in which the development of new cognitive mediations allows novel fields of exploration of creative activity to emerge. In a first step, we shall see how philosophical perspectives are articulated in research concerning Cybernetics, Cognitive Science and Systems theory. We will explore the nature of the mechanicist perspective with which these sciences generally address difficulties concerning conceptions of what comprises thought, information and creation. We shall discuss the extent to which mechanicism is limited in its consideration of relations between thought, creation and symbol, and the means by which the semiotics of C. S. Peirce can offer a more consistent means to address the correlations between symbols, signs and thoughts. We’ll examine how Peircean Semiotics, developed from its Phenomenology, conceives levels of intensity of qualities, relations and mediations existent in the dimensions of experience. We shall present Peirce’s arguments concerning the impossibility of reducing thought and creativity to mechanical processes, because implicit would be the disqualification of genuine manifestation of chance in the experience of a thought. Hence, questioning quali-signs as fields of manifestation of creativity, we’ll point towards the role of the icon in exploration of dimensions of corporality and signs that emerge from the cognitive interfaces of artificial systems. We shall then address Cyberculture as a paradigm of our contemporary socio-cultural condition, investigating in it manifestations of creative activity at the junctions of heterogeneous semiotic systems. In the end, we shall question to what extent synthesized images may be appropriate as expressions of creative exploration of semiotic dimensions in which thoughts create transits and expansions of their own connections
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Neves, Camila Portella. "Televisão e deficiência visual: o sonoro na produção de imagens mentais." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4487.
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Previous issue date: 2012-12-11<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>The object of this work is the visuality formed by the blind people when watching
television. The objective of this research is to analyze the sound as a resource to
forming mental images to understand and generate knowledge of the world passed
through what is on television for the visually impaired. As specific objectives, intends
to examine the TV as a way of understanding the world and as a means of
information for the visually impaired, also noting the extent to which the sound
replaces the image in the apprehension of which is transmitted by TV. It also aims to
analyze to what extent the visually impaired can reproduce the world through sound
and identify what kind of visuality is produced by the visually impaired while watching
TV. In TV programming, there is a perfect union of image and sound, playing a
central role in Brazil in the knowledge of individuals. However, this unique feature in
the union of the TV picture and sound, while it can reach a higher percentage of fans,
also limits access to those who do not have the feature imagery. This is the case of
the blind, which receive only the character of the sound that is transmitted. In view of
this, this research has the following problem: being the eyes a sense of excellence in
the mass mediation of images, how the blind people experience mental images while
watching television? It starts with the hypothesis that the mental visuality produced by
blind people can lead to understanding what is televised. In such case, it is believed
that through the perception and discrimination of sound, the blind people can
produce mental images. Another hypothesis is that, through a polisensitive
discrimination, the visually impaired are developing another kind of learning
supported by a system of analogies. In view of this, the fourth hypothesis is that
through the sound the blind people can elaborate images by expansion of cognitive
operations. It is a qualitative research which uses the abductive-inductive method,
and for its development, we intend to conduct an empirical illustration with people
with visual impairments. For the development of this dissertation will be discussed
about the representation as a sign (Charles Sanders Peirce); about the mental
representations produced by the blind (Antonio Damasio), entering the enclosure of
Cognitive Sciences; on perception (Lucia Santaella), and how the sound is seen by
the blind people as a way of thinking in the absence of the image, passing in front of
it, by the concept of compensation (Semionovitch Lev Vygotsky)<br>O objeto do presente trabalho é a visualidade formada pelo deficiente visual ao
assistir televisão. O objetivo da pesquisa é analisar o som como formador de
imagens mentais no sentido de compreender e gerar um conhecimento do mundo
através do que é repassado pela televisão aos deficientes visuais. Como objetivos
específicos, pretende-se verificar o papel da TV na compreensão do mundo e como
meio de informação para os deficientes visuais, constatando também em que
medida o som substitui a imagem na apreensão do que é repassado pela TV.
Pretende-se ainda analisar em que medida o deficiente visual consegue reproduzir o
mundo através do som e identificar que tipo de visualidade produzem os deficientes
visuais ao assistirem TV. Na programação da TV, observa-se o perfeito casamento
entre a imagem e o som, desempenhando no Brasil um papel central no
conhecimento dos indivíduos. Contudo, essa característica singular da TV na união
entre imagem e som, ao mesmo tempo em que consegue atingir um maior
percentual de adeptos, também limita àqueles que não possuem acesso do recurso
imagético. É o caso dos deficientes visuais, os quais apenas recebem o caráter
sonoro do que é transmitido. Em vista disto, a presente pesquisa parte do seguinte
problema: considerando os olhos um sentido por excelência na mediação massiva
das imagens, como os deficientes visuais experimentam imagens mentais ao
assistirem televisão? Parte-se das hipóteses de que a visualidade mental produzida
pelo deficiente visual pode levar a compreender o que é transmitido pela televisão.
Assim, acredita-se que através da percepção e discriminação do som, o cego
consegue elaborar imagens mentais. Outra hipótese é de que, através de uma
discriminação polissensível, o deficiente desenvolve outro tipo de aprendizagem
apoiada no sistema de analogias. A quarta hipótese é de que através do som o cego
consegue elaborar imagens pela expansão de operações cognitivas. Trata-se de
uma pesquisa qualitativa cujo método utilizado é o abdutivo-indutivo, e para o seu
desenvolvimento, pretende-se realizar uma exemplificação empírica junto às
pessoas com deficiência visual. Assim, discute-se acerca da representação como
relação sígnica (Charles Sanders Peirce); sobre as representações mentais
elaboradas pelos cegos (Antônio Damásio), entrando no cerco das Ciências
Cognitivas; sobre a percepção (Lúcia Santaella), passando pela questão da maneira
em que o som é utilizado pelos deficientes visuais como modo de pensar na
ausência da imagem, abordando, diante disto, o conceito de compensação (Lev
Semionovitch Vigotski)
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Peigney, Salomé. "Représenter l’homme ordinaire. Histoire et sémiologie d’un commun du voir sur un commun aux hommes." Thesis, Paris 2, 2018. http://www.theses.fr/2018PA020068/document.
Full textAbstract:
Représenter l’homme ordinaire, c’est dans ce travail considérer la construction d’un commun du voir sur un commun aux hommes. Ordinaire vient du latin ordo, « rangé par ordre ». Ce n’est donc pas tant une question de forme que de regard. Ce travail ne porte pas sur l’homme ordinaire mais sur un regard qui voit l’homme ordinaire. C’est un regard politique, qui dit ce qui doit être vu au sein d’une société. C’est à la fois une violence et un confort du voir : imposition d’une représentation qui définirait ce qu’est un homme une fois pour toutes, mais également, confort de regards qui se réunissent autour d’une figure qu’ils reconnaissent et qu’ils partagent.Représenter l’homme ordinaire, dans les Caractères de la Bruyère, dans les Physiologies publiées dans la presse du XIXe siècle, dans des images d’anatomie et de physiologie médicales, dans les Français peints par eux mêmes, dans la couverture d'un catalogue IKEA ou dans les pages d'un magazine people, c’est adresser une représentation aux regards d’un public qui reconnaît quelque chose qui lui vient d’un vivre et d’un voir communs, qu’il a appris à reconnaître dans la société dans laquelle il est inscrit. Reconnaître de l’ordinaire, et de l’ordinaire de l’homme dans une représentation, c’est pour un regard dire que des individus peuvent être identifiés de la même manière. Ce n’est pas une notion genrée, mais une formule qui renvoie au « commun du voir » d’une société. Nous nous sommes intéressés à chercher comment un regard peut voir l’homme ordinaire : notre travail s’inscrit dans une sémiotique du voir qui se demande comment une société construit des catégories du voir qui permettent à ceux qui les partagent de construire un voir commun<br>Representing the ordinary man is, in this work, considering that a common look is built on a human common. Ordinary comes from the word ordo, « arranged by order ». This is not about shapes or forms but more about a view. This work is not about the ordinary man but about a view that can see an ordinary man. This is a political view, that told what has to be seen in a society. It is a violence, and a comfort of viewing at the same time : a representation that imposes what is a man, definitely, but also, comfort of views that gather around a figure that they recognize and share.Representing the ordinary man, in Les Caractères by La Bruyère, in the Physiologies published in the XIX century press, in anatomical and physiological pictures, in Les Français peints par eux-mêmes, on an IKEA catalog cover or in a people magazine pages, is addressing a representation to a public that recognizes something that comes from a common view and a common living, that this public learned to recognize in a society. Recognizing something ordinary, and something ordinary about men, means that individuals can be identified the same way. This is not a gender notion, but a formula that leads to the « common seeing » of a society. We searched how to be able to see an ordinary man : our work remains in semiotics of seeing that asks how a society builds categories of seeing that permits to whose who share them to build a common seeing
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Banjongsawat, Sorthong. "La Thaïlande, pays aux deux visages : Approches sémiologiques d’une identité culturelle ambiguë à travers le miroir de la presse et autres discours publics." Thesis, Paris 5, 2012. http://www.theses.fr/2012PA05H013/document.
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Cette étude vise à analyser l’image ambiguë de la culture thaïlandaise contemporaine à travers un regard extérieur. En ayant pour but de reconstituer « l’image à partir des images », nous menons une analyse à la croisée de corpus hétérogènes : des photographies et des dessins de presse réalisés par des auteurs occidentaux. Le travail élabore une analyse impliquant les deux démarches complémentaires de la sémiologie et de la sémiotique. Une approche sémiologique, qui sert à étudier les signes visuels (iconiques, plastiques et linguistiques) et leurs traitements symboliques et une approche sémiotique qui est introduite pour dégager les significations, la structure profonde et les isotopies fondamentales. Ces corpus concernent certains aspects culturels comme, par exemple, les nouveaux visages de la religion bouddhiste, la transformation des pratiques traditionnelles, l’influence des cultures étrangères, les nouvelles expressions symboliques. Cette recherche met en évidence la coexistence d’éléments incongrus dans la représentation culturelle, ce qui permet de dégager une image de l’évolution contemporaine de l’identité thaïlandaise, avec ses floues, ses doutes et ses équivoques. Ce regard permet également de voir un pays qui se cherche, oscillant entre tradition et modernité, le bouddhisme et le capitalisme, le spirituel et le matériel, l’identité et l’altérité, l’être et le paraître. La vie sociale et culturelle est présentée ici comme prise dans une dynamique de transformation permanente issue de l’acculturation et de la tendance corrélative au syncrétisme chez les Thaïlandais<br>This study aims to analyze the ambiguous image of contemporary Thai culture through different points of view. Our purpose is to establish an interpretation of Thai cultural identity from images. Hence, an analysis has been conducted, based on heterogeneous objects of study: photography and press cartoons created by western authors. Two complementary approaches, which are semiology and semiotics, have been elaborated. A semiological approach is used to study visual signs (iconic, plastic and linguistic) and symbolic expressions whereas a semiotic approach is applied to identify the meanings, the structural analysis and the basic isotopies. The selected images allow us to explore some Thai cultural representations such as new aspects of Buddhism, transformation in traditional practices, influence of foreign cultures, new symbolic expressions... This research also reveals the coexistence of incongruous elements in Thai cultural representation and reflects the image of the contemporary evolution of the Thai identity with its confused, undefinable and ambiguous aspects. Thailand, in the eyes of foreign observers, is a country searching for its identity, oscillating between tradition and modernity, Buddhism and capitalism, spiritual and material, identity and alterity, substance and appearance. Thai social and cultural life is presented as a dynamic in continuous transformation, which is the result of the acculturation in the globalized world and the tendency for syncretism of Thai people
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Chung, Sae Won. "External Images of the EU: Comparative Analysis of EU Representations in Three Major South Korean Newspapers and Their Internet Editions." Thesis, University of Canterbury. National Centre for Research on Europe, 2013. http://hdl.handle.net/10092/8921.
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This thesis explores textual and visual images of the EU in South Korea's three prestigious popular newspapers - Chosun Ilbo, Dong A Ilbo and Joong Ang Ilbo - and compares them to the imagery created by the internet versions of these newspapers. In recent years, much scholarly work has been done on the topics of EU imagery in print media, but no systemic attempt has yet been made to EU imagery in internet media. The thesis analyses EU news monitored daily in 12 months of 2008 (a year of the first G20 Summit in Washington and the 6th and 7th rounds of EU-Korea FTA negotiations).
This study is interdisciplinary. The thesis draws on several significant theories and concepts from the media studies and linguistics. On top of this, a wide range of approaches of content and visual analysis were reviewed. The study then considers and adopts a multimethodological approach of content analysis (studies by Chaban and Holland) and of visual analysis (by Bain) based on visual semiotics. However, to cope with internet media it also adds several categories which add the notion of interactivity to the original content analysis. It incorporates categories originating from a social semiotic approach (elements of interactive and compositional meta-functions) into the original visual analysis.
The results of this study are presented in three case studies. In the first section of each case study the thesis provides a comprehensive overview featuring the latest information and various perspectives (political, economic, social, environmental and developmental). The second section presents formal characteristics of EU images in print newspapers and their internet versions. The third section covers substantive characteristics in both versions. The last section suggests the results of visual analysis. The results of this thesis contribute to two areas of studies: EU external perception studies and internet communication studies: as well as enhancing a deeper understanding of EU-Korea relations.
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Chiachiri, Filho Antonio Roberto. "O sabor das imagens." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5092.
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Previous issue date: 2008-06-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>In the context of communication and culture, this study is focused on the
resources used by photographers specialized in gastronomic photography.
The so mentioned resources are responsible for the effects of synesthetic suggestion
produced in the message recipient, to the extent of exciting their
appetite at times more strongly than a real dish would do. The aim of this
work is to show how a flat and bidimentional sign can be able to do this. We
are aware that, in this domain, photographic scenario actually concerns a
number of simulating resources and powers capable of insinuating delights,
triggering and even intensifying psychophysical effects, such as whetting the
appetite and stimulating the senses, also causing in an interpreter physical
reactions (biophysical, neurosensory, behavioral, etc), such as salivating or
imaginably tasting the unique flavor of a certain food according to their
previous gustatory background. Based on interviews carried out with professionals
working in the production and preparation of gastronomic photography,
on analyses of three photographic reproductions from press media specialized
in gastronomy and also on bibliographical studies, we believe that
this research, carried out under the perspective of Charles Sanders Peirce s
semiotics, based on an analysis method taken from Lucia Santaella s work
and studies on synesthesia phenomenon, can contribute to the comprehension
of a still unexplored aspect of the art of photographic communication,
namely, trying to understand how the language of this type of sign, through
which gustatory pleasures are evoked by visual message, is structured and
works<br>No contexto da comunicação e cultura, esta pesquisa está voltada para
os recursos utilizados pelos fotógrafos especializados na fotografia gastronômica,
recursos estes responsáveis pelos efeitos de sugestão sinestésica
produzidos no receptor, a ponto de excitar-lhe o apetite por vezes de modo
mais intenso do que um prato o faria. Pretendemos mostrar como um signo
chapado, bidimensional, pode dar conta disso.
Sabemos que o cenário fotográfico, neste domínio, na realidade, envolve
uma série de recursos e de poderes simuladores capazes de insinuar delícias,
engatilhar e mesmo intensificar efeitos psicofísicos como o despertar
do apetite, aguçar os sentidos desencadeando num intérprete, também,
reações fisiológicas (biofísicas, neurossensoriais, comportamentais etc), tais
como salivar ou empreender imaginativamente o sabor peculiar daquele
alimento segundo seu prévio repertório sígnico gustativo. Por meio de
entrevistas realizadas com profissionais de produção e elaboração fotográfica
gastronômica, análises de três reproduções fotográficas de mídias
impressas especializadas em gastronomia e estudos bibliográficos, cremos
que esta pesquisa, elaborada à luz da semiótica de Charles Sanders Peirce,
apoiada em uma metodologia de análise extraída da obra de Lucia Santaella
e em estudos sobre o fenômeno da sinestesia, poderá contribuir para a
compreensão de um aspecto ainda pouco explorado da arte da comunicação
fotográfica, a saber, o de tentar perceber como se estrutura e age a
linguagem deste tipo de signo, por meio do qual os prazeres gustativos são
evocados pela mensagem visual
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Main, Michael G. "How am I not myself? a semiotic analysis of images." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/465.
Full textAbstract:
There has been much debate in the history of philosophy aimed at determining what it is, exactly, that makes a person who and what she is. Varying theories have offered a wide range of concepts in pursuit of the answer to this question. Some thinkers, such as B.F. Skinner, have claimed that it is observable behavior patterns that determine who and what a person is. Yet other thinkers, such as Carl Jung, have attributed unconscious motivators as being determinative in deciphering who and what a person is. Jung claims that it is the conscious and unconscious working together that determines who and what a person is. The purpose of this thesis is to discover evidence that supports or disproves the theory of self in which the unconscious and conscious work together to determine who and/or what a person is. This is done by semiotically analyzing the Visual Products (VP) of Visual Product Producers (VPP) who were or are afflicted with Bipolar Disorder. This thesis consists of the semiotic analysis of selected works by Jackson Pollock, Virginia Woolf, Vincent Van Gogh, and myself (Michael Main). Semiotic analysis studies how meanings are generated as opposed to what meanings are generated. It should be noted that semiotics was used strictly as a method of analysis and not as a guiding philosophy. In examining how the works of the selected VPPs generate meaning, it is hoped that evidence is produced that proves or disproves the theory of who or what a person is as determined by the interaction of the conscious and unconscious.<br>B.A.<br>Bachelors<br>Arts and Humanities<br>Humanities
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Rasheed, Zeeshan. "Video categorization using semantics and semiotics." Doctoral diss., University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/RTD/id/2888.
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University of Central Florida College of Engineering Thesis<br>There is a great need to automatically segment, categorize, and annotate video data, and to develop efficient tools for browsing and searching. We believe that the categorization of videos can be achieved by exploring the concepts and meanings of the videos. This task requires bridging the gap between low-level content and high-level concepts (or semantics). Once a relationship is established between the low-level computable features of the video and its semantics, .the user would be able to navigate through videos through the use of concepts and ideas (for example, a user could extract only those scenes in an action film that actually contain fights) rat her than sequentially browsing the whole video. However, this relationship must follow the norms of human perception and abide by the rules that are most often followed by the creators (directors) of these videos. These rules are called film grammar in video production literature. Like any natural language, this grammar has several dialects, but it has been acknowledged to be universal. Therefore, the knowledge of film grammar can be exploited effectively for the understanding of films. To interpret an idea using the grammar, we need to first understand the symbols, as in natural languages, and second, understand the rules of combination of these symbols to represent concepts. In order to develop algorithms that exploit this film grammar, it is necessary to relate the symbols of the grammar to computable video features.<br>Ph.D.<br>Doctorate;<br>School of Electrical Engineering and Computer Science<br>Engineering and Computer Science<br>Electrical Engineering and Computer Science<br>120 p.<br>xix, 120 leaves, bound : ill., (some col.) ; 28 cm.
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Yoon, JungWon. "Improving Recall of Browsing Sets in Image Retrieval from a Semiotics Perspective." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5237/.
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The purpose of dissertation is to utilize connotative messages for enhancing image retrieval and browsing. By adopting semiotics as a theoretical tool, this study explores problems of image retrieval and proposes an image retrieval model. The semiotics approach conceptually demonstrates that: 1) a fundamental reason for the dissonance between retrieved images and user needs is representation of connotative messages, and 2) the image retrieval model which makes use of denotative index terms is able to facilitate users to browse connotatively related images effectively even when the users' needs are potentially expressed in the form of denotative query. Two experiments are performed for verifying the semiotic-based image retrieval model and evaluating the effectiveness of the model. As data sources, 5,199 records are collected from Artefacts Canada: Humanities by Canadian Heritage Information Network, and the candidate terms of connotation and denotation are extracted from Art & Architecture Thesaurus. The first experiment, by applying term association measures, verifies that the connotative messages of an image can be derived from denotative messages of the image. The second experiment reveals that the association thesaurus which is constructed based on the associations between connotation and denotation facilitates assigning connotative terms to image documents. In addition, the result of relevant judgments presents that the association thesaurus improves the relative recall of retrieved image documents as well as the relative recall of browsing sets. This study concludes that the association thesaurus indicating associations between connotation and denotation is able to improve the accessibility of the connotative messages. The results of the study are hoped to contribute to the conceptual knowledge of image retrieval by providing understandings of connotative messages within an image and to the practical design of image retrieval system by proposing an association thesaurus which can supplement the limitations of the current content-based image retrieval systems (CBIR).
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FERREIRA, Anália Adriana da Silva. "Comunicação visual no livro ilustrado: palavra, imagem e design contando histórias." Universidade Federal de Campina Grande, 2017. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/925.
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Previous issue date: 2017-05-03<br>Esta pesquisa tem por objetivo investigar a comunicação visual e a relação palavraimagem mediada pelo design em livros ilustrados, para isso, selecionou-se o
acervo da Fundação Nacional do Livro Infantil e Juvenil, FNLIJ, especificamente a
categoria Criança. Realizou-se estudo panorâmico de caráter histórico-cultural do
livro infantil no Brasil, observando temáticas, concepções gráficas, autores, ilustradores e a narrativa visual com o intuito de compreender o objeto e identificar a participação do design gráfico no mesmo; levantamento e discussão sobre as classificações do livro infantil, as necessidades de leitura de imagens e os aspectos do design na organização visual também foram contemplados nesta dissertação. Os livros selecionados passaram por análise sintática e semântica para melhor observar as articulações entre as narrativas visual e verbal. Para análise sintática utiliza-se as teorias da Gestalt como norteamento, observando formas, cores, tipografia e composição. Para análise semântica o uso da Semiótica, identificando ícones, índices e suas simbologias. A metodologia seguiu as etapas propostas pelo Método Feldman de Leitura de Imagens e precisou ser adaptado para o livro ilustrado com aplicação das teorias mencionadas. Como resultado destaca-se a diversidade de concepções na narrativa visual e as experimentações que o design
possibilita ao livro. Espera-se por meio deste trabalho contribuir para a ampliação
de estudos do design no livro infantil, fomentar a discussão sobre leitura de imagens e as práticas de projetos de comunicação para criança.<br>This research aims to investigate visual communication in picturebooks and the
text-image relation mediated by the design. Therefore the collection of the FNLIJ,
Brazilian version of International Board on Books for Young People – IBBY,
specifically the Child category was selected. In order to understand the object and
identify the participation of graphic design in it, a panoramic historical-cultural study
of the children's book in Brazil was carried out, emphasizing its thematic, graphic
conceptions, authors, illustrators and visual narrative. This study also comprises a
selection and discussion about the child book classifications, the need to foment for
reading images, and the aspects of design in the visual organization of the
information. The selected books were analyzed syntactically and semantically to
better observe the articulations between the visual and verbal narratives. The
syntactic analysis followed Gestalt theories as a guide, observing forms, colors,
typography and composition. The semantic analysis was conducted through
semiotics theories to identify icons, indexes and their symbologies. The
methodology was an adaptation of the steps proposed by the Feldman Method of
Reading Images redirecting to the Picturebook with application of the mentioned
theories. As a result, this research highlights the diversity of composition of the
visual narrative and the experimentation that the design makes possible to the
book. Moreover, it seeks to contribute to the growth of design studies in children's
books, to stimulate the discussion about reading images and for the practices of
communication projects for children.
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Carlzon, Paula, and Sanna Olsson. "Matfoto : Tillämpning av semiotik, visuell social semiotik och estetiska begrep." Thesis, Örebro universitet, Restaurang- och hotellhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-33313.
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När en kock komponerar en maträtt som skall fotograferas kommer han behöva göra en medveten estetisk bedömning innan maträtten tillagas, för att sedan analysera och förstå hur betraktaren uppfattar matfotografi. I denna litteraturstudie är syftet att undersöka hur estetiska begrepp och bildanalysmetoder tillämpas inom matfotografi. Uppsatsen bygger på en litteraturstudie, där fyra vetenskapliga artiklar har tillämpats för att besvara syftet. Resultatet i litteraturstudien visar att det är svårt att finna en metod att applicera på matfotografi, men om det går att skapa ett språk med flera metoder tillsammans finns det stora fördelar ur ett analytiskt perspektiv. Tillämpningen av estetiska begrepp tillsammans med bildanalyser är komplicerat och forskningen som gjorts är inte tillräcklig<br>B-uppsatser
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Galbiatti, Maria Odete. ""A gente se vê por aqui": a captura do sujeito através das imagens na televisão." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4724.
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Previous issue date: 2006-03-10<br>This paper aims on thinking over the slogan power of Globo TV network, considering a semiotics perspective and also the psychoanalytical listening.
The purpose is to show that TV works as an alienating discourse in constructing the experience of the psycho reality replacing the living actions with the passive contemplation of images. Thus entailing a whole lifestyle towed by the market as well as by an esthetic pattern orchestrated by the communication technology.
Through a semiotic view the TV and the public mix themselves up because when in front of the TV set we are captured by images which dominate the appearance of our body, our ego, our imagination. Such images which multiply infinitely make us lose our sight of the esthetic value of life.
The message from TV determines the social ideals and heads the audience wishes.
Excessive TV however swells the imaginary and it may be viewed as a cultural symptom.<br>Este estudo visa refletir sobre o poder dos slogans da Rede Globo, lidos segundo uma perspectiva semiótica, e escutados psicanaliticamente.
O objetivo é mostrar que a televisão funciona como um discurso alienante na construção da experiência da realidade psíquica, substituindo o vivido pela contemplação passiva de imagens; implicando todo um estilo de vida, a reboque do mercado e da estetização orquestrada pela tecnologia comunicacional.
Semioticamente, a televisão e o público terminam confundindo-se, pois na frente dela, estamos capturados por imagens que dominam a aparência do nosso corpo, nosso Eu, nossa imaginação; multiplicando-se infinitamente, essas imagens nos fazem perder de vista o valor estético da vida.
Sua mensagem determina os ideais sociais, e norteia os desejos da audiência.
Seus excessos, porém, inflacionam o imaginário, e isto pode ser lido como um sintoma da cultura.
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Caswell, Heather C. "Captured images: a semiotic analysis of early 20th Century American schools." Diss., Kansas State University, 2012. http://hdl.handle.net/2097/14056.
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Doctor of Philosophy<br>Curriculum and Instruction<br>F. Todd Goodson<br>This study investigates visual representation of three perspectives: the context of school, the pedagogy, and the teacher-student relationships when viewing photographs taken during the first half of the 20th Century of American Schools. Grounded in the understanding of visual culture, this image-based study utilized photographs as a rich source of data.
The photographs collected for this study were taken between 1900 -1959 in American schools and were categorized by the Library of Congress as still images of classrooms in the United States. The Library of Congress collection was utilized to provide reliable categorized and documented images of schooling. The collection included 1,812 photographs archived in the Library of Congress Prints and Photographs collections specifically labeled as Classrooms United States; the non-digitized Frances Benjamin Johnston Photograph Collection of United States Indian School; and, Look Magazine Teacher Issue Charlotte Brooks negatives collection.
A three-layered analysis utilized an initial layer of analysis placing each of the photographs into four predetermined categories: Time Period (1900-1950’s), Urban-Rural, Wealth-Poverty, Active-Passive environment. The placement of each photograph into the above continua provided evidence of the balance of visual elements within the data collection. Seven themes emerged through an open-coding process within the second layer of analysis when each photograph was coded using a specific perspective: context, pedagogy, and teacher-student relationship. As themes were extracted, a third layer of analysis utilized a semiotic approach to identifying over 20 cultural icons representational of schooling within the photograph. Implications for further research are provided.
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Pirgova, Luba. "Images of electricity : perceptions of loss and semiotic communication of risk." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/97588/.
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Electricity is a tool used by people and the basis for life in a technologically advanced world. From production to consumption, electricity is an important part of, and has a great impact on, everyday life; and yet despite its prevalence, electricity remains a largely unseen phenomenon of both nature and nurture. This thesis is situated in the social sciences' conceptual context and will explore to what extent electricity is not only a part of our lives, but also how and what it changes in relation to our perceptions of the world. The particular focus of this research is on the images of electricity as created by individuals but circulated in and interpreted by communities and societies. As electricity is unseen, all communication regarding energy and electricity (just like any other abstract idea) is achieved primarily through the use of images (including visual, narrative and performative types of images). There is a great variety of theoretical models that can enable in-depth analysis of these images and reveal human perceptions of electricity as well as the influence these perceptions can have on human decision-making processes, behaviors, and social interactions. Images produced in times of turmoil due to a catalyst event are particularly poignant at excavating the unseen and unconsidered and provide opportunities for study, which cannot be conducted at other times. In this, thesis two case studies are presented and analyzed, namely Hurricane Sandy (2012) and Bulgarian Energy Protests (2013). Specifically, the emphasis is on interpreting images from these two cases as signs - iconic signs and/or symbols - and on the consequent transformations of their elements when created and used in different social contexts. The analysis of the empirical data is twofold: first thematic and content analyses followed by second, a semiotic analysis. The semiotic approach to studying images of electricity has not been attempted so far as extensively as it could – or indeed, should - be and it is used in this thesis to offer an alternative way of approaching electricity research and a different understanding of how electricity can shape or influence our views, values, and actions. In other words, the major focus of the study is on images of electricity produced in times of turmoil, which are further analyzed as signs that are integrated into communication between individuals, within communities, and in a society and understood through the use of shared codes and contextual knowledge/experience.
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Santos, Marina Vieira. "Imagens e Ciências no Ensino Fundamental II: um estudo à luz da semiótica peirceana." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/81/81132/tde-30032017-153653/.
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Considerando que é no ensino fundamental que fenômenos de natureza química são tratados pela primeira vez e que as imagens podem auxiliar no processo de aprendizagem e possibilitar a construção de significados para o conhecimento, o presente trabalho propõe-se a analisar as escolhas, as ações e os comportamentos de uma professora de ciências durante suas aulas para o 9° ano do ensino fundamental II, com o objetivo de explorar o uso de recursos imagéticos propostos por ela. Para tanto, fizeram parte desta aferição questões como: quais os tipos de imagens foram utilizados no desenvolvimento da disciplina? O que a professora almejou ao utilizá-las? Em qual contexto estão inseridas? Como se deu o processo de comunicação acerca da imagem? A pesquisa foi desenvolvida em uma escola municipal localizada na cidade de Salto - SP, onde foram acompanhadas e gravadas as aulas por um período de seis meses, durante o qual foi trabalhado o conteúdo de química. Caracteriza-se, assim, como um estudo de caso. Cada imagem utilizada pela professora em sala de aula foi considerada signo e explorada a partir da teoria da semiótica de Charles Sanders Peirce. Considerá-la como signo é atribuir-lhe uma carga de materialização, ou seja, o objeto é materializado na representação, possibilitando a transição entre o domínio imaterial e o visual e a compreensão de como podem ou não colaborar para a construção do conteúdo de química, considerando, ainda, o discurso da professora acerca do signo. As imagens foram classificadas de acordo com modos de relação pelo qual o signo se constitui (quanto à sua própria natureza) e quanto ao seu objeto. Essas relações pertencem às denominadas tricotomias estabelecidas por Peirce, resultando em diversas classes, como quali-signo icônico, sin-signo icônico, sin-signo indicial, legi-signo icônico, legi-signo indicial e legi-signo simbólico. Essas análises e classificações somadas aos argumentos e construções apresentados pela professora durante a pesquisa evidenciaram sua postura fortemente realista durante a leitura das imagens.<br>Whereas in the elementary school that chemical nature phenomena are treated for the first time and the images can assist the learning process and enable the construction of meanings for knowledge, this paper explores the actions and behaviors of a science teacher for their classes to the 9th grade of elementary school II, in order to explore the use of pictorial resources proposed for it. So, were part of this assessment questions such as what types of images were used in the development of the discipline? What the teacher aspired to use them? In what context are inserted? How was the communication process about the image? This research is characterized as a case study and was developed in a municipal school in the city of Salto - SP, where classes were monitored and recorded in a period of six months, a period in which they worked the chemical content. Each image used by the teacher in the classroom was considered a sign and explored from the theory of Charles Sanders Peirce semiotics. Consider it as a sign is to attribute it a load of materialization, in the other words, the object is materialized in the representation, enabling the transition between immaterial domain and the visual and understanding of how may or may not contribute to the construction of the chemical content considering also the speech of the teacher about the sign. The images were classified according to modes of relationship in which the sign is constituted (about its nature) and about its object. These relationships belong to called trichotomies established by Peirce, resulting in several classes, as qualisign iconic, sinsign iconic, sinsign indicial, legisign iconic, legisign indicial and legisign symbolic. These reviews and ratings added to teacher\'s arguments and buildings presented during the research showed a strongly realistic posture while reading the images.
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Jonasson, Daniel, and Lise-Lott Humble. "Från Jalla! Jalla! till Snabba Cash : En semiotisk och retorisk kvalitativ analys av affischer från 2000-talet." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-20159.
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Posters had their breakthrough in 1830-1840’s all thanks to the lithographic printing technique. The poster was used as an advertising tool. In this essay, we have looked at which semiotic and rhetorical elements that are found in today’s Swedish movie posters. What kind of image and text elements does the poster use and with what function? With what and how do they persuade the audience that the movies are interesting and worth seeing? We have taken the most popular Swedish movies between 2001 and 2010, one for each year, going by the statistic found at the website of the Swedish Film Institute. We have first analyzed using a semiotic perspective (signs, codes, denotation, connotation and myth combined with Giddens´ lifestyle sectors). Then we have used a rhetorical perspective using the three persuasion categories: ethos (credibility), logos (logical) and pathos (emotional). The posters vary in their way of using different elements and tactics trying to interest audiences and communicate the intended information. Iconic pictures of people are important carriers of emotional bound codes. Symbolic signs communicate the title and names of participators. Some posters rely on the names of the actors and writers (ethos) while others focus on communicating the story (logos). Pathos is used to set the mood to connotate the genre. Every poster has its strengths and weaknesses. Promoting the strengths in the right way and finding a balance is key.
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Modigh, Stefan. "Makt i bild : Hur makt kan manifesteras i bild." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12364.
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Den här undersökningen belyser hur makt kan manifesteras i bild. Den utgår från maktteorier, främst postmodern maktanalys enligt Michel Foucault och hans uttolkare. Semiotisk bildanalys används för att belysa maktmanifestationer i ett bildmaterial som huvudsakligen utgörs av fotografier tagna av författaren. Resultatet presenteras i en gestaltning där bilderna visas tillsammans med en analys av varje bild. Tekniker såsom perspektivval, bildutsnitt och efterbehandling, för att förändra en bilds konnotation, demonstreras. Olika maktperspektiv och makttekniker urskiljs och särskilt fokus läggs på mindre uppenbara maktyttringar och dolda maktuttryck, t.ex. osynliggörande, obstruktion, belöning och övervakning. Här konstateras att uttryck för makt inte är absoluta och odiskutabla utan att konnotationen är beroende av betraktarens kultursfär, tidigare erfarenheter och kunskap. En diskussion förs om uttolkningen av de maktteoretiska och semiotiska begreppen och hur vida definitionerna kan vara för att analysen ska vara användbar och meningsfull.<br>This study illustrates how power can be manifested in the image. It is based on theories of power, mainly postmodern power analysis according to Michel Foucault and his interpreters. Semiotic analysis is used to illustrate the manifestations of power in the visual material that mainly consists of photographs taken by the author. The results are presented in a display where the images are shown along with an analysis of each image. Techniques such as perspective, composition and finish, in order to change the connotation of an image, are being demonstrated. Different perspectives of power and power techniques are distinguished and a special focus is put on the less obvious manifestations of power and the hidden expressions of power, for example inattention, obstruction, reward and monitoring. It is found that expressions of power are not absolute and indisputable and that the connotation depends on the viewer's culture sphere, previous experience and knowledge. A discussion is being held about the interpretation of the power theoretical and semiotic concepts and how wide the definitions can be for the analysis to be useful and meaningful.
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Souza, Karina Aparecida de Freitas Dias de. "Estratégias de comunicação em química como índices epistemológicos: análise semiótica das ilustrações presentes em livros didáticos ao longo do século XX." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/46/46136/tde-08052013-095035/.
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O presente trabalho insere-se no contexto de algumas convicções, aqui destacadas com vistas à compreensão dos objetivos e estratégias metodológicas: (i) no processo de construção do conhecimento científico, o acesso à realidade da Natureza só é possível se mediado pelos resultados das interações que com ela estabelecemos; (ii) a interpretação de tais resultados levam a construtos teóricos e linguísticos; (iii) tais construtos não correspondem à realidade em sua totalidade, uma vez que se tratam de interpretações possíveis e limitadas pelas interações estabelecidas; (iv) a explicitação das relações entre realidade - interação - interpretação - representação é essencial ao processo de educação em ciências que se pretenda emancipatório e formador de indivíduos críticos, uma vez que permite extrapolar os limites do ensino conteudista. Tais relações ganham especial destaque no ensino de química, dado o papel essencial desempenhado pelos modelos e representações tanto no processo de construção do conhecimento químico quanto de sua comunicação. Apesar disso, extensa busca na literatura levou a diferentes tentativas de descrição da atividade química e do ensino dessa ciência que não contemplam satisfatoriamente as relações entre realidade, interação, interpretação e representação. Considerando que tais relações são de natureza semiótica, foram colocados como objetivos da presente investigação: a reconceitualização das diferentes propostas de descrição da atividade do químico e do ensino de química à luz da filosofia de Charles Sanders Peirce; a caracterização das estratégias de comunicação do conhecimento químico empregadas por autores de livros de Química Geral sob a perspectiva do referencial teórico elaborado e a busca por correlações entre o perfil das representações investigadas, a evolução no conhecimento químico, e as diferentes concepções sobre essa ciência. A teoria peirceana mostrou-se promissora na elucidação de problemas filosóficos identificados nas descrições da atividade química e de seu ensino. A compreensão de que as evidências experimentais atuam como signos de um objeto (realidade), do qual só podemos ter acesso parcial, contribui para a compreensão da atividade científica como processo em permanente construção. A partir dessa perspectiva, foram analisadas 31 obras e identificadas diferentes abordagens para o conhecimento químico: da química enquanto ciência prática e aplicada (início do século XX) passou-se à ciência do invisível (ênfase nos princípios a partir dos anos 1950) e, mais atualmente, à ciência de interfaces. Tal transição mostrou-se marcada por modificações nas estratégias de representação do conteúdo químico: das ilustrações sobre experimentos e aparatos passou-se à quase negligência dos aspectos descritivos em favor das representações de átomos e moléculas, cuja \"realidade\" vai sendo construída ao longo do século a partir de recursos gráficos cada vez mais elaborados, e de estratégias semióticas, como o aumento da iconicidade. Chega-se à década de 1980 com enorme número de ilustrações, distribuídas entre fenômenos diretamente inacessíveis por nossos sentidos e aplicações da química em nosso cotidiano. As estratégias discursivas utilizadas nesse processo, bem como suas implicações para o ensino de química, discutidas ao longo do trabalho, sugerem que a semiótica peirceana constitui linha de pesquisa fértil e promissora para esta área.<br>This work starts from four assumptions which stand as the background for the research aims and methodological strategies: (i) in the process of construction of scientific knowledge, the access to the reality of Nature is necessarily mediated by interactions that we establish with it; (ii) the interpretation of the results of such interactions leads to theoretical and scientific constructs; (iii) such constructs are not identical to reality itself, since they are possible interpretations, constrained by the performed interactions; (iv) an explicit account of the relationships between reality - interaction - interpretation - representation is essential to a science education that intends to be emancipatory, since it allows to transcend the boundaries of content-centered teaching. Such relationships need special attention from chemical educators, given the essential role played by models and representations in the processes of construction and communication of chemical knowledge. An extensive literature search revealed various attempts to describe chemical activity and chemistry teaching that do not satisfactorily address the relationships between reality, interaction, interpretation and representation. Since such relationships are of semiotic nature, the present research aimed at: reconceptualizing the different attempts to describe the chemists\' activity and the teaching of chemistry, in the light of the philosophy of Charles Sanders Peirce; characterizing, within the developed theoretical framework, the strategies employed in General Chemistry textbooks to communicate chemical knowledge; and establishing correlations between such strategies, the historical evolution of chemical knowledge and the different conceptions about chemistry. Peirce\'s theory showed to be useful for elucidating philosophical problems identified in descriptions of chemical activity and in chemistry teaching. Realizing that experimental evidences act as signs of an object (reality), to which we can only have partial access, contributes to the understanding of scientific activity as an ever-evolving process. From this perspective, 31 textbooks were analyzed and it was possible to identify different approaches to chemical knowledge: chemistry as an applied and practical science (early twentieth century), chemistry as the science of the microscopically invisible (emphasis on principles, from the 1950s) and, currently, chemistry as the science of interfaces. Passing from one approach to the other involved changes in the strategies for representing chemical content: illustrations of experiments and apparatus were almost totally neglected in favor of the representations of atoms and molecules, whose \"reality\" was built along the century with increasingly elaborated graphics and semiotic strategies such as increasing iconicity. The 1980s brought a huge number of illustrations, distributed among directly inaccessible phenomena and applications of chemistry in our daily life. The discursive strategies used throughout the century, as well as their implications for the teaching of chemistry discussed in this thesis, suggest that Peirce\'s semiotics is fertile and promising for research in chemical education.
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Stanley, Keith R. "Word and image : Doré/Poe : an enquiry into the role of word and image in the late Romantic period, with specific interest in the participation of Gustave Doré, Edgar Allan Poe and the influence of the gothic revival." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/22446.
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Bibliography: pages 202-211.<br>This study is an investigation into the relationship between word and image, with specific interest into the work of Edgar Allan Poe and Gustave Doré. The twenty six illustrations that Doré executed for Poe's The Raven form the basis of the study. The intention is, through analysis of the illustration, to identify the interplay between word and image and also investigate the influence of late Romantic Gothicism. Part One examines the position and roles of verbal/visual enquiry through illustration and text. A survey of theoretical concepts defining illustration is made. A brief examination of nineteenth century perspectives of illustration, including a survey of technical theories follows. The modern theory of semiotics and its bearing on visual investigation is examined. A model for applying these theories is detailed. Part Two is an in-depth examination of all twenty six of Doré's illustrations of The Raven. An introduction to the illustrations precedes the analysis. Each illustration is detailed individually, with information on the engraver, content and poetical position being given at the start. Numbered inserts are employed to relay detailed information on more general topics relates to the poem and illustrations. Part Three is the conclusion to the work. A brief examination of Doré's involvement with the Gothic is made. Notes on Doré's illustrations for The Raven and their reception and a survey of other illustrators of The Raven, particularly Eduard Manet follows. The comparison between Manet's and Doré's illustrations is investigated. The concluding remarks note how the relationship of word and image between Doré and Poe uncovers new information about both the poem and the illustrations. The importance of Romanticism and the Gothic is also noted. The conclusion states how new light on Doré's work makes these twenty six rarely considered illustrations more noteworthy. The study ends with a series of appendices, the text of The Raven by Poe, the twenty six illustrations by Doré and a bibliography.
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Fidouh, Dalel. "Communicative semiotics in everyday life : cultural criticism : the image in the 21st century." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/13679.
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What am I seeing? What does it mean? This thesis addresses the transformations in cultural life in the 21st century due to the cultural dominance of the image, which resulted from the radical change and enormous progress in the media, communication and the development of information systems in the world. All this has led to changes in the intellectual structure, and an increased tendency to drift in all areas, and the emergence of a society and a culture governed by the culture of shock. The fundamental issue concerning the image is an epistemological issue, as we cannot distinguish between the visual image and the semantic product. We live in a world surrounded with stunning and spectacular visual images. We are overloaded with images from all types in our everyday life. We probably see images more than we read words. This thesis provides an analytical framework for understanding how images produce meanings using the semiotic approach. Semiotics is the most important approach that can be used to analyze all types of images. Semiotic analysis addresses images as signs which communicate meaning. The symbols used in signs are often culturally specific. This thesis indicates the focus of the receiver to adapt to this visual cultural situation, to be able to grasp the content of the new cultural discourse as it is present in all the details of the receiver’s daily life. There have been a number of questions that pushed me to accomplish this research, including: what are the elements of the culture of the image? What is its impact on the mental perception and production of semantic meaning? What is its reflection on the nature of social networking in general? The thesis discussed all of these issues.
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Costa, Rafael Wagner dos Santos. "A constituição semiótica da imagem-documento." Universidade do Vale do Rio dos Sinos, 2013. http://www.repositorio.jesuita.org.br/handle/UNISINOS/3884.
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Previous issue date: 2013-04-12<br>Nenhuma<br>Esta tese tem como finalidade a caracterização do estatuto semiótico da imagemdocumento à luz dos pensamentos de Gilles Deleuze e Charles Sanders Peirce. Ao se retomar a influência peirceana sobre o pensamento cinematográfico de Deleuze – em geral associado ao bergsonismo – empreendeu-se uma revisão crítica das imagens-movimento e das imagenstempo sob o viés semiótico e se descobriu um novo tipo de imagem derivada da experiência cinematográfica contemporânea e que introduz problemáticas bem específicas para o estudo do cinema: a imagem-documento, foco desta tese. A imagem-documento é aqui concebida como imagem-tempo, mais precisamente como a face documental da imagem-cristal, cuja matéria expressiva é constituída pelas figuras da fabulação, da potência do falso, da alteridade do personagem, do agente provocador, do personagem intercessor, do jogo cênico, do transe, do deslocamento e da montagem nuclear. Nesse cinema de imagem-documento, ao invés de se identificarem os índices de uma realidade já vivida (como nos documentários clássicos), elas se comportam como flechas do tempo (em séries) que apontam para o vir a ser do mundo, inseparáveis das ideias de ação, intervenção e invenção, possibilitadas pelas imagens de fabulação. Além da demonstração das relações teóricas entre Peirce e Deleuze – que evidenciam as potencialidades desse encontro –, a imagem-documento foi abordada ensaisticamente. Nos ensaios, procurou-se estabelecer de que forma tal imagem funciona em cenas dos filmes Iracema, uma transa amazônica (1974), Jogo de cena (2007) e Di Glauber (1977), propostos como experiências brasileiras da imagem-documento. Esta tese, assim, procura revelar os modos como os pensamentos de Peirce e Deleuze se agenciam para dar lugar a uma nova imagem de pensamento cuja matéria de expressão são as imagens cinematográficas. Por fim, esta pesquisa também contribui para demonstrar que a prática da escrita deleuzeana concebida pelo viés peirceano pode trazer relevantes contribuições para ambas as teorias.<br>This thesis aims to characterize the semiotic state of the document-image in the light of Gilles Deleuze and Charles Sanders Peirce’s thoughts. Resuming the influence of Peirce in Deleuze’s cinematic thought – generally associated with Bergson – allowed a critical review about the movement-images and the time-images in the light of semiotics, and discovered a new type of image derived from the contemporary cinematic experience that introduces specific problematic for the study of cinema: the document-image, the core of the thesis. The image-document is thought as a time-image, more precisely, as a documentary face of the image-crystal, whose expressive matter consists in the figures of fabulation, the power of the false, the otherness of the character, the agent provocateur, the Character intercessor, the scenic game, the trance, the displacement and the nuclear assembly. In this cinema of document-image, instead of identifying the index of a reality already experienced (as in the classic documentaries), it behaves like a arrows of time (in series) that point to become of the world, inseparable from ideas of action, intervention and invention, made possible by the images of fabulation. In addition to demonstrate the theoretical relations between Peirce and Deleuze – where highlight the potential of this encounter –, the document-image was approached through essays. In these essays we intended to establish how the image-document works in scenes of the films Iracema, uma transa amazônica (1974), Jogo de cena (2007) and Di Glauber (1977), proposed as Brazilian experiences of image-document. This thesis, therefore, intends to reveal the ways in which thoughts of Peirce and Deleuze can be the way for a new image of thought whose matter of expression are the cinematic images. Finally, this research contributes to demonstrate that the practice of deleuzean writing conceived in the light of Peirce can bring important contributions to both theories.
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Göransson, Alice, and Ellinor Eke-Göransson. "En drakes bildval : En semiotisk bildanalys av Aftonbladets bildval på webben och i den tryckta tidningen." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79824.
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The purpose of this study was to investigate the image selection in the swedish newspaper Aftonbladet during three days. We wanted to know what kind of images Aftonbladet choosed to publish in the printed newspaper and in the corresponding articles on the web. Through a semiotic image analysis we were able to analyze what images Aftonbladet choosed to publish and what the images signaled. We were also looking for differences and similarities in the image selection so we compared what kind of different images the newspaper where using on the web and in the printed newspaper. We analyzed three pages from two newspapers in June, and the associated web articles, which gave us a total of 50 photos to analyze. Through the analysis we found that most of the images could speak to the observer's pathos, that is, emotions. The result also showed that Aftonbladet used more sensational journalism on images of people in the printed newspaper compared to the web. The similarities we found mainly concerned that there were many of the images that were the same on the web and the printed newspaper. The differences we found mainly concerned that there were many more images on the web than in the printed newspaper and the pictures were also much bigger at the website. We hope that our study will provide an in-depth understanding of the importance of the image in the news context and contribute to the journalistic research field.
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Chang, Han. "Semiotic analysis of Hillary Clitnon's [sic] photographic image in Newsweek magazine." [Gainesville, Fla.] : University of Florida, 2008. http://purl.fcla.edu/fcla/etd/UFE0022714.
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Thongrom, Pimpika. "The effect of interpreted filmic signs on destination image through a consideration of semiotics." Thesis, Oxford Brookes University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.616305.
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Various research studies have analysed the relationship between film and tourism and the effect of film on destinations and destination image. Destination managers are aware of the potential of film on destination awareness and promotion. Films can offer destinations a promotion viewed by millions in worldwide audiences in a short period of time. As film provides enhanced images through special effects and picture-perfect camera angles, as well as the effect of movie stars, it can be extremely powerful in creating and developing destination image, and potentially attracting people to visit a place. In semiotics, film is made of signs which are in different forms (visual, sound, lighting, the use of camera, and editing) in order to create meanings. However, whilst people see the same film, they may or may not make the meaning in the same way. This study attempts to use Peirce's semiotics theory in order to analyse the potential meanings of filmic signs (visuals, sounds, lighting, and the use of camera) and codes (film editing) and the consequent effect on destination image. Three films are selected that are shot in and represent Thailand, and an exploration is made of individuals' interpretation of the films using a semiotic approach applied in two rounds of qualitative interviews. The first round of interviews (IR1) is conducted in the field with participants who have experience of visiting Thailand, and the second round (IR2) is conducted with participants who have not visited Thailand The findings of this research show that the three selected films have an effect on destination image in three different stages (generating new images; highlighting existing images; and shaping existing images) and different dimensions (cognitive and affective image; positive and negative image; and unique image). Additionally, the factors that influence the perception of destination image are influenced by cultural background, personal experience, and vicarious experience through the characters. Lastly, with regard to behavioural intention to visit Thailand, the research shows that the films do not have strong influence on decision making to visit Thailand among the participants from IR1. On the other hand, the participants from IR2 are particularly attracted to visit Thailand by unique images they perceive from the films. The results of this study contribute to academic understanding , methodology and practice. From the theoretical point of view, this research contributes to the study of destination image. From the methodology perspective, the research contributes to the application of semiotics study in tourism. Lastly, the findings of the research suggest practical contributions for policy makers in Thailand
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Scavone, Fernando Pasquale Rocco. "Fotografia: fragmentação e condensação do tempo na interface homem-máquina." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-13082009-154246/.
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Constituem o objeto deste estudo as interações temporais do homem com a máquina na prática do processo fotográfico. Baseado em experiências empíricas e buscando referencias em análises críticas, estrutura-se na sobreposição de três níveis conceituais: sintático, semiótico e psíquico, procura compreender as implicações que as transformações técnicas determinam na linguagem visual do meio.<br>The object of this study is to examine the time interactions between the photographer and the camera through the photographic process. Based on empirical observations and referring to critical analyses, it is structured in three different conceptual layers: syntactic, semiotic and psychic. It aims to understand the implications that technical transformations determine in the medium visual language.
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Larsson, Amanda. "Horan och madonnan : En kvalitativ analys över kvinnans gestaltning i moderna livsstilsmagasins personporträtt." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26409.
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Lifestyle magazines portray women in different manners and have an influence on how media consumers create self-images. The importance of knowing how different visual representation of the female acts out in magazines with large target audiences is therefore of weight for the magazines’ readers to understand. This thesis analyze how the two lifestyle magazines ELLE and LOVE portrays women in images and how they in turn create ideal images of women. The thesis has been conducted through a qualitative analysis of 5 images from each magazine that represents the magazines artistic styles. The theories used in this study are semiotic image analysis and visual text analysis viewed from a gender- and discourse perspective. The conclusion of this thesis is that ELLE portrays women as strong, happy and feminine, with at tendency towards androgyny, while LOVE describes women as inferior and sexual objects constructed for the male gaze. The magazines, which belong to a classic- respectively a post-modern genre within lifestyle magazines, thereby switch places with each other and becomes each other’s counterparts.
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Van, Meerbergen Sara. "Nederländska bilderböcker blir svenska : En multimodal översättningsanalys." Doctoral thesis, Stockholms universitet, Institutionen för baltiska språk, finska och tyska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42561.
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This thesis considers the translation of Dutch and Flemish picture books into Swedish from 1995 to 2006. The main aim of the thesis is to study what meaning the notion translation takes on where picture books are concerned and how the translation practice for picture books is influenced by international co-productions. The thesis includes a bibliographical study and a larger case study of the Dutch picture book artist Dick Bruna and his internationally renowned picture books about the rabbit Miffy in Swedish translation. Working within the theoretical frame of descriptive translation studies (DTS), I describe and analyse picture book translation as a phenomenon and a practice that occurs at a certain moment in time in a certain sociocultural context. Using the model of Toury (1995), I study translation norms governing the selection and translation of Dutch and Flemish picture books and of Bruna’s picture books about Miffy in particular. Toury’s model is largely designed for the analysis of written texts. As picture book texts combine both verbal and visual modes of expression, I use multimodal analysis combining the social semiotic visual grammar of Kress & van Leeuwen (2006) with systemic functional linguistics (SFL) as a tool to analyse the translation of picture book texts. By combining DTS and SFL, I study translation as a cultural and social semiotic practice. The analyses in the thesis indicate that picture book translation can be characterised as an international, target culture-oriented and multimodal translation practice. The multimodal translation analysis shows that, while translated picture books have the same images as their source text due to co-production, images can be combined with different social meanings, as for instance images of children and interaction with the reader, expressed in the written text. Images can also assume different meaning potentials and also referential interplay and plausible reading paths between words and images can change.
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Fessien-Bonnal, Ingrid Barbara. "Gestualité et regards dans les peintures d'Orazio Gentileschi : une approche sémiotique." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0156.
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Dénoncée à des degrés divers dans les sources et les études, la réticence narrative apparaît comme une constante des discours portés sur l’œuvre d'Orazio Gentileschi. Cette persistance, par delà le contexte (historique) de réception, signale l'actualité (théorique) de la question. Plus particulièrement, dans sept tableaux réalisés au cours du premier tiers du XVIIe siècle, gestualité et regards peints, traditionnels opérateurs de structuration du récit, semblent agir sur un registre autre que celui de l'historia. De surcroît, la forte valeur déictique attachée à ces opérateurs, en imposant le hors champ dans la trame narrative, invite à s'interroger sur la dimension agissante d'un terrain extérieur mais contigu à la surface historiée. Ces compositions, en raison des « ruptures énonciatives » qu'elles présentent, s'offrent donc en objets de questionnement de leurs propres conditions de possibilité. En plus de livrer un récit la peinture ici réfléchit sur elle-même. Dans la première partie nous examinons la manière dont la gestualité figurée, en s'écartant du régime du contenu, participe en tant que forme aux mécanismes de production de sens. La deuxième partie, qui s'attache aux objets désignés et cependant refusés au regard car situés au-delà des limites physiques de la toile, étudie comment l'appareil déictique travaille à une continuité sémantique à partir de la contiguïté topologique. Dans la troisième partie nous interrogeons, au prisme de la dynamique qui apparie dans leurs parcours regards peints et exercés, l'activité d'un système qui organise et structure les multiples champs de la fruition<br>Denounced on various levels by early modern commentaries and contemporary studies, narrative reticence apprears as an abiding feature of the discourses concerning Orazio Gentileschi's paintings. This persistence, beyond historical context in which it was received, indicates theoretical actuality of the question. Specially, in seven canvases produced in the first third of the Seventeenth Century, gestuality and depicted gazes, traditionnal drivers of narrative structuring, seem to operate on a different level than the ones from historia. In addition, the strong deictic value linked to these drivers, imposing an off-picture in the narrative framework, brings us to examine the effective dimension of this external but contiguous space. This compositions, because of their disruptions, present themselves to questioning objects of their autoreferential mechanisms. More than a display of historia, painting thinks about itself. Fisrt we focus on the way the gestuality is represented, withdrawing from content register, and how it takes part in the process of meaning. Second, refering to designated objects and nevertheless situated out of the material limits of the painting, we try to establish how the deictic apparatus works on semantic continuity from the topological contiguity. Third, through the prism of the dynamic which pairs depicted and exercised gazes, we consider the activity of a system which organizes and structures the multiple fields of the representation
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Blair, Paul S. "Figura rerum : 'the pattern of the glory' : the theological contributions of Charles Williams." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6364.
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This thesis seeks to show that Charles Williams makes a significant contribution to theology, and it demonstrates the nature of that contribution. A pattern of theological themes centering on the Incarnation, emphasizing the humanity of Christ, is repeated throughout his works. For Williams, human beings are images of the coinherent Godhead. His theological anthropology further develops through his understanding of imaging, as shown for instance in the Incarnation, and in Dante's characterization of Beatrice as a God bearer. His view of images is built from Coleridge's understanding of the nature of a symbol. This picture of imaging is widely applied, first and foremost to relationships of love, seen as potential incarnate images of grace. Williams seeks to extend his picture to all relationships and, further, to whatever man must do to go beyond himself to an encounter with God. He believes that man is responsible for his brother, in practice by bearing his brother's burdens, with substitutionary acts of vicarious love. A further part of his thinking then views people as living in coinherent relationships, and the universe as a web of coinherent relations. He draws his examples of natural coinherent relations from the world of commerce with its exchange and substitution of labors and from the child living within its mother, and builds a picture of what he calls the City, a broader coinherent society. Coinherence begins and flows from the Trinity and the Incarnation and then is found in relationships between God and man: in the Church, in the future City of God, and in all Creation. The Fall brings about the breakdown of the coinherence of God and man and man and man, and that breakdown is a central characteristic of sin. Williams believes that a regenerated coinherence in Christ brings about a renewal of mankind.
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Specht, Patrícia Pivoto. "Mídia, emoção e cultura gaúcha: a construção da imagem do jornalista Paulo Sant Ana no Rio Grande do Sul." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5143.
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Previous issue date: 2008-11-03<br>The new post-modern Zeitgeist of the early 21st century has imagery, impermanence and fragmentation as its hallmarks and requires mediatic relations that include the cultivation of sensory and affective possibilities. The journalist Paulo Sant Ana, 69, native of the state of Rio Grande do Sul and object of the present master s degree dissertation, fits well into this context inasmuch as he follows strategies that have the complexity required by this new reality. Since the 1970s Sant Ana has been active in three communication media of Rio Grande do Sul: the Zero Hora newspaper, Rádio Gaúcha and RBS TV Porto Alegre, which are part of the Rede Brasil Sul de Comunicação, or RBS (Southern Brazil Communication Network), the largest and most powerful media monopoly of the southern region and one of the most important in Brazil. Since September 2007 Sant Ana has had his own blog at www.zerohora.com. With the help of theatrical performances in which he uses jokes, irony and metaphors, he has built over the course of 37 years a style of journalism all his own, something that comes close to a creative post-modernism directly linked to daily life and experiences. Within this sphere, the most important of the two hypotheses of this study, which attempts to understand how the construct of the image of a mediatic phenomenon took place, is that Sant Ana s success can be at least partly explained by his unique and singular way of being and presenting himself as a mediatic subject, who, by means of his doings and manner of presenting himself, creates an identity associated with trustworthiness, honesty, authenticity and sensibility. Based on the premise that every discourse has the hallmarks (styles, beliefs and competencies) of its enunciator, this Master s Degree Dissertation has analyzed the facts (newsworthy or not) that most strongly influenced the definition of this journalist s identity. The other and not less significant hypothesis is that Sant Ana embodies features related to the character of the natives of Rio Grande do Sul, such as courage, pride and magnanimity, that stir the imagination of the natives of this state. To this perspective were added vital reflections on post-modernity, columns, news and regionalism (Harvey, Sodré, Maffesoli, Bauman, Vicchiatti, Chaparro, Oliven, Debord and others), besides the analysis of Sant Ana s discourse undertaken with the instruments of discursive semiotics (Greimas, Oliveira, Landowski, Pessoa de Barros, Fiorin, Fechini and others). The texts that were analyzed and that with, within the semiotic perspective, are not necessarily verbal were chosen from online searches, interviews, analyses of recorded radio and TV programs, as well as bibliographical and newspaper research<br>O novo espírito do tempo deste início de século 21, dito pós-moderno, marcado pela imagem, pelo efêmero e pelo fragmentário, pede relações midiáticas que contemplem o cultivo das possibilidades sensoriais e afetivas. O jornalista gaúcho Paulo Sant Ana, 69 anos, objeto da presente Dissertação de Mestrado, insere-se nesse contexto ao apostar em estratégias dotadas da complexidade que esse novo real pressupõe. Sant Ana atua desde os anos 70 em três mídias gaúchas: Jornal Zero Hora, Rádio Gaúcha e RBS TV Porto Alegre, que integram a Rede Brasil Sul de Comunicação (RBS), maior e mais poderoso monopólio de mídia da região sul e um dos mais significativos do país. Desde setembro de 2007, o jornalista comanda um blog no site www.zerohora.com. Por meio de performances teatrais, nas quais faz uso de gracejos, ironias e metáforas, ele construiu, ao longo de 37 anos, uma proposta de jornalismo de estilo diferenciado, próximo de um pós-modernismo criativo diretamente ligado ao vivido e ao cotidiano. Nesse âmbito, a principal das duas hipóteses do presente estudo, o qual buscou compreender como ocorreu a construção da imagem de um fenômeno midiático, é a de que o sucesso de Sant Ana se explica, ao menos em parte, pelo jeito único e peculiar de ser e de expor-se como sujeito midiático, que constrói, por seu fazer e por seus modos de aparecer, uma identidade ligada ao credível, ao honesto, ao autêntico e ao sensível. Partindo da premissa de que todo discurso carrega marcas (estilos, crenças e competências) de seu enunciador, a Dissertação de Mestrado analisou os fatos (noticiosos ou não) de maior impacto na definição da identidade do jornalista no Rio Grande do Sul. A outra hipótese, não menos importante, é a de que Sant Ana encarna características ligadas ao gauchismo, como a coragem, a soberba e a altivez, que mexem com o imaginário do morador do Estado. Em coadunação com essa perspectiva, foram imprescindíveis reflexões acerca da pós-modernidade, da crônica, da notícia e do regionalismo (Harvey, Sodré, Maffesoli, Bauman, Vicchiatti, Chaparro, Oliven, Debord e outros), além de uma análise do discurso produzido por Sant Ana, por meio do instrumental da semiótica discursiva (Greimas, Oliveira, Landowski, Pessoa de Barros, Fiorin, Fechini e outros). Os textos analisados que, na perspectiva semiótica, não são necessariamente verbais foram selecionados a partir de buscas online, aplicação de entrevistas, análise de gravações de programas de televisão e de rádio, e pesquisas bibliográficas e em exemplares de jornais
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Nordell, Patrik. "Universalspråket : Deleuzes semiotik och åtbördsspråket." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35402.
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In fact, as far as I know, linguists and philosophers of language have never really looked at the universal language. Instead, they frame a “universal language” that is based on the premise of the majoritarian languages. One approach, traditional linguistics, often goes from signs (lexical signs), phonology, and syntax and is based on phonocentric framing, i.e., sound is the basis of their theoretical frames. The other approach, cognitive linguistics, is based on spatiality and embodied figures in mental space. Cognitive linguists (Leonard Talmy, for example) believe that the objects of spoken languages or signed languages are mainly created from natural perception and mental spaces. However, natural perception and mental spaces are in turn shaped, formed, and modified by sensorimotor perception and the movement of thought. Would it not be better to derive from them directly so that we can gain an understanding of how a language is created from the human body? We could also gain an understanding of the relationship between perception, thought, and the utterable of languages. The ontological benefit is that signed languages are closer to "raw" thought, perception, and the universal language than spoken languages. Sign language poetry, for example, is close to the universal language. Therefore, as opposed to spoken languages, signed languages are based on the movement of thinking outside the body. We can thus reveal the pure language or the universal language. The essay question: Is the “mobile” part of sign languages (åtbördsspråket) and gestures (åtbörder) appropriate as a model for constructing a general definition of all languages? I apply Gilles Deleuze's philosophy, especially his pure semiotics, perception, and the theory of movement, to construct this universal language.
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Fu, Linda, and n/a. "VISUAL COMMUNICATION ACROSS CULTURES A Semiotic Study of the Interpretation of Western Brand Images in China." University of Canberra. Communication, 2000. http://erl.canberra.edu.au./public/adt-AUC20090605.155440.
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This thesis seeks to shed some light on the study and practice of visual communication
across cultural boundaries, Using a semiotic approach, it examines how a selected
range of Western brand images that are promoted in the People's Republic of China are
'read' and interpreted by the local urban population. The case studies include symbolic
images, such as logomarks and logotypes, as well as iconic images such as
photographic material in advertisements. The political, economic and social context,
and cultural aspects, such as attitudes, values and various cultural codes, are
considered as influencing factors tha t affect the decoding of the meaning of visual
unages.
The research indicates that the intended and perceived meanings of a branding image
rarely match when there is a significant difference between the cultures in which the
image is encoded and decoded. While in a few instances the local population interprets
the Western brand images in the manner intended by the Western communicator, most
are interpreted differently. Some images are interpreted with a positive, albeit
different, connotation, others are seen as rather negative. In the worst-case scenario,
the messages are severely misunderstood and totally rejected by the readers due to
cultural incompatibility.
Rather unexpectedly, symbolic images, acknowledged as arbitrary and culture-specific
in nature, are more readily interpreted in a positive way and close to the intended
meaning than are the iconic images. The latter tend to be interpreted almost exclusively
in the reader's (rather than the author's) cultural context and thus may be prone to
misunderstanding or even rejection.
The thesis concludes that the challenge in communicating visually across cultural
boundaries is to recognise cultural differences, and draw on cultural compatibility to
generate shared meaning and avoid cultural clashes that cause negative interpretation
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Pettersson, Emma. "Människosonens beständighet : Bildanalys av två surrealistiska konstverk." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24846.
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Syftet med detta arbete är utifrån litteraturuppgifter samt analys beskriva Salvador Dalis och René Magrittes konstnärliga arbetsmetod, och utifrån detta göra en egen visuell gestaltning. Metoden jag har använt mig utav är litteratur, bildandalys och konstnärliga gestaltningar.Salvador Dalis metod i Minnets beständighet bygger på gränslöshet och fantasi, med tydliga semiotiska inslag. Du som betraktare avgör vad som ses, vill du se målningarna enkelt och bara uppleva det som är målat, eller vill betraktaren sjunka in i en värld av nyskapande, suddiga gränser och bortom alla regler. René Magrittes metod bygger i Människosonen på naturliga och trovärdiga drag, hans målning framstå som verklig fast med en touch av fantasi, med sparsamma drag av semiotik.<br>The purpose of this work is based on literature data and analysis describing the Salvador Dali and René Magritte's artistic working method, and accordingly make its own visual interpretation. The method I used is out literature, bildandalys and artistic depictions.Salvador Dali's method of memory resistance based on the boundlessness and fantasy, with distinct semiotic elements. You as a viewer decides what is seen, you want to see the paintings simple and just experience what is painted, or want the viewer to sink into a world of innovative, blurred boundaries and beyond all rules. René Magritte's method is based in the Son of man on natural and credible move, his painting appear to be real solid with a touch of fantasy, with sparse features of semiotics.