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Major, Mary Elizabeth. "War's Visual Discourse| A Content Analysis of Iraq War Imagery." Thesis, Portland State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535957.
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This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%.
This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.
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Goodman, Sharon. "Aesthetics and consensus : verbal and visual poetics in newspaper discourse." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319548.
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Sauron, Victoria Elizabeth Turvey. "Paradoxical Bodies: Femininity, subjectivity and the visual discourse of ecstasy." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.484907.
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The aim of this research is to explore the possibility of the articulation of an embodied feminine subjectivity within visual culture. Tracing the tropes and discourses ofvisuality operating around the female body in representation'via Warburg's notion of ' the pathos formula, I examine the extent to which specific 'images acquiesce or resist dominant narratives of femininity within patriarchal visuality. The search for an embodied subjectivity leads to encounters with paradoxical bodies whose apparent passivity and ecstatic submission mask potential articulations of subjecthood through networks of visual and bodily memory. When the female body is represented in extreme states, where it can be both subject and object, desiring and desired, it becomes engaged in discourses of concealment and revelation, veiling and penetration, interiority and exteriority, which are played out in terms of drapery, skin and the body's boundaries. These visual articulations of femininity are at the heart of Western visual cUlhIre, traversing the boundaries of context, period'and genre, yet bodily representation often remains problematically linked to phallic and fetishistic modes of viewing which perpetuate the alienation of a feminine subjectivity. Beginning with The Ecstasy ofSt. Teresa by Bernini, the first chapter presents the impasse met by traditional art history and begins to propose, around the figure of Mary Magdalene, the notion of the 'Caravaggesque' body. The second chapter traces the phallic structure of viewing through representations' of Venus and sculptural drapery, finishing by interrogating the engagements of Cindy Sherman and Orlan within these discourses. Chapter Three articulates potential areas within visual culture, from ' '. Caravaggio to Artemisia Gentileschi to Hildegard of Bingen, where depicted subjectivity begins to emerge beyond a dualist structure ofthe body and mind. Finally, a theorisation of the visuality of pregnancy leads to the possibility in Chapter Four of a feminist articulation of subjectivity based on a body marked by a pre- and post-maternal temporality.
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Economou, Dorothy. "Photos in the News: appraisal analysis of visual semiosis and verbal-visual intersemiosis." University of Sydney, 2009. http://hdl.handle.net/2123/5740.
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Doctor of Philosophy (PhD)This thesis concerns the intersection of social semiotic theory and critical discourse analysis (CDA), applying systemic-functional (SF) theory to verbal-visual news media texts. The aim of the thesis is to develop social semiotic descriptions of visual meaning in order to facilitate analyses of evaluative stance in visual-verbal text. The texts studied are ‘factual’ daily broadsheet news photos and prominent visual-verbal ‘displays’ that incorporate these photos alongside headlines and captions. Such displays introduce investigative stories on the front page of broadsheet weekly news reviews and are referred to in the thesis as ‘standout’ texts. They are significant because they may also be read as independent texts and play a critical role in positioning a wide readership on the issues investigated in the story. The SF system of verbal appraisal was used in this thesis to develop a corresponding system of visual appraisal. The process involved applying general appraisal options to a corpus of news photos and proceeding to further delicacy in a repeated cycle of analysis and system-building. Once refined in this way the system was applied alongside the verbal appraisal system to account for evaluation in verbal-visual standouts. In the thesis four Australian and four Greek standouts introducing stories on asylum seekers were analysed in order to explore the potential for variation and the impact of context on evaluative meaning choices. The thesis contributes insights into SF theory, media discourse and CDA. The visual systems developed allow appraisal analysis to be extended to images and to verbalvisual texts. Visual appraisal analysis in the thesis provides new evidence for the ideological and evaluative power of news photos. Verbal-visual appraisal analysis shows how each semiotic contributes to evaluative meaning, and to its accumulation and spread across a text. In respect to media discourse, the thesis also provides evidence for the ‘standout’ as an orbital verbal-visual news genre. The comparison of evaluative stance in two sets of standouts demonstrates consistent editorial choices in texts within each context and contrasts across the two sites. The Australian texts display more evaluative complexity, greater emphasis on entertainment and offer two different stances, aligning a diverse target audience. The Greek texts are more straightforward and construct a single stance, aligning a narrower audience. By identifying the semiotic choices involved in the evaluative positioning of readers by visual-verbal texts, the thesis can contribute to more informed and reflective practice. Thus, as well as making theoretical advances, the findings have relevance for journalism and education at a time when the impact of images is changing our conception of literacy.
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Jancsary, Dennis, Markus Höllerer, and Renate Meyer. "Critical analysis of visual and multimodal texts." SAGE, 2016. http://epub.wu.ac.at/6126/1/Dennis_etal_2016_SAGE%2Dcritical%2Danalysis.pdf.
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Lu, Rugang. "Chinese culture in globalization : a multimodal case study on visual discourse." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427703.
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Iacoban, Deliana, and Måns Mårtensson. "The Discourse Behind Textual and Visual Representations of Mindfulness on Twitter." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24005.
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Our study is a collaborative dissertation paper that combines two differentdiscourse analyses, textual and visual, based on a common theoretical background.The introduction guides the reader through the content of the study, at the same timeoffering a brief context of research. The aim of the paper is to address a gap that weidentified in the study of mindfulness, namely a critical approach, from a media andcommunication perspective, of how this concept is represented in social media. Eventhough our research questions are developed separately in the analyses conductedindependently, they can be reduced to three core questions: ‘How is the meaning ofmindfulness constructed on Twitter?’, ‘Are there any power relations in theconstruction of discourse and if they exist, how do they shape the discourse?’, ‘Howdoes the reproduction and circulation of discourse shape its meaning throughintertextuality?’For answering these questions existing research from psychology,sociology and business has been reviewed, with the mention that no relevantmedia and/or communication studies on mindfulness have been found.Therefore, our attempt to open a discussion in the field required a theoreticalframe of analysis. For that we chose Michel Foucault’s discourse theory, addingobservations on relations of power, and Stuart Hall’s theories of representation.The methodologies used for the two analyses are Fairclough’s and Rose’sapproaches of applied discourse analysis. Critical Discourse Analysis (CDA) andVisual Discourse Analysis (VDA) are two detailed disseminations of qualitativedata, conducted separately. Results show that there is a mainstream discoursethat portrays mindfulness as a positive practice. This type of discourse might beinvested with power, however our conclusions in this sense are restrained by thelimitations of access to Twitter data. High intertextuality and low reliability onthe scientific discourse further suggested in our case that the understandings ofmindfulness are subject to change due to an advanced grade of interpretabilityamong Twitter users.
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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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Donald, Matthew G. "Revealing and Concealing Hitler's Visual Discourse: Considering "Forbidden" Images with Rhetorics of Display." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/134.
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Typically, when considering Adolf Hitler, we see him in one of two ways: A parodied figure or a monolithic figure of power. I argue that instead of only viewing images of Hitler he wanted us to see, we should expand our view and overall consideration of images he did not want his audiences to bear witness. By examining a collection of photographs that Hitler censored from his audiences, I question what remains hidden about Hitler’s image when we are constantly shown widely circulated images of Hitler. To satisfy this inquiry, I utilize rhetorics of display to argue that when we analyze and include these hidden images into the Hitlerian visual discourse, we further complicate and disrupt the Hitler Myth. This study aims to contribute to recent scholarship that aims to learn more about the “hidden” Hitler as well as to rhetorical studies of display.
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Catalano, Dominic. "The roles of the visual in picturebooks beyond the conventions of current discourse /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1122923992.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains x, 555 p. Includes bibliographical references (p. 512-555). Available online via OhioLINK's ETD Center.
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Buehl, Jonathan Daniel. "Instrument to evidence to argument visual mediation of invisible phenomena in scientific discourse /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8534.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Mazzola, Renan Belmonte. "Discurso e imagem : transformações do cânone visual nas mídias digitais /." Araraquara, 2014. http://hdl.handle.net/11449/115748.
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Orientador: Maria do Rosário GregolinBanca: Pedro Navarro
Banca: Denise Witzel
Banca: Luzmara Curcino
Banca: Nilton Milanez
Resumo: Com vistas a refletir sobre as transformações do cânone visual nas mídias digitais a partir das relações entre discurso e imagem, fundamentamo-nos nos postulados da Análise do Discurso, derivada dos trabalhos do grupo em torno de Michel Pêcheux e de contribuições da obra de Michel Foucault, e concebemos os seguintes pressupostos que subsidiarão as considerações a serem aqui desenvolvidas: a) o cânone se configura como procedimento de controle do discurso e como lugar de memória, mas a coerção que impõe a seus objetos é passível de transformações quando circula nos meios digitais; b) o discurso estético, mencionado por Michel Pêcheux nas obras da chamada "terceira época" da Análise do Discurso, sinaliza caminhos para a compreensão do lugar da pintura e da mídia no aparato teórico desse campo do saber; c) a história da Análise do Discurso desenhada por Jean-Jacques Courtine retrata os limites do pensamento de Michel Pêcheux e os avanços do pensamento de Michel Foucault com relação à abordagem da imagem em sua dimensão material, discursiva e histórica; d) o enunciado, para Michel Foucault, possui uma natureza semiológica, ou seja, ele não se reduz necessariamente ao componente linguístico; para compreendermos esse princípio, analisamos o período entre 1966 e 1968, em que Michel Foucault esteve na Tunísia e desenvolvia simultaneamente, entre outros trabalhos, os fundamentos de seu método arqueológico (A arqueologia do saber) e as reflexões sobre o discurso estético (A pintura de Manet); e) para estudarmos a abordagem da imagem e da pintura na Análise do Discurso, revisitamos os princípios encontrados no campo da Semiologia dos anos 1960 e 70 - como a obra de Roland Barthes em torno da fotografia e a de Carlo Ginzburg em torno do paradigma indiciário na pintura - para então compreendermos a natureza da Semiologia Histórica desenvolvida por Jean-Jacques...
Abstract: In order to reflect on the transformations of visual canon in digital media from the relations between discourse and image, we base ourselves on the postulates of Discourse Analysis, derived from the group around Michel Pêcheux and from the contributions of Michel Foucault's work. We conceive the following assumptions that will subsidize the considerations to be developed here: a) the canon is configured as a discourse control procedure and as place of memory, but the coercion it imposes on its objects is subject to transformations when running in digital media; b) the aesthetic discourse, which is mentioned by Michel Pêcheux in the works called the "third age" of Discourse Analysis, indicates some paths for understanding the place of painting and media in the theoretical apparatus of this field of knowledge; c) the history of Discourse Analysis designed by Jean-Jacques Courtine depicts the boundaries of Michel Pecheux's thought and the advances of Michel Foucault's thought regarding the image approach in its material, discursive and historical dimension; d) the utterance, according to Michel Foucault, has a semiotic nature, i.e. it is not necessarily reduced to the linguistic component; to understand this principle, we analysed the period between 1966 and 1968, in which Michel Foucault has been in Tunisia and has developed simultaneously, among other works, the foundations of his archaeological method (The archaeology of knowledge) and his reflections on the aesthetic discourse (Manet and the object of painting); e) in order to study the image and painting approach in Discourse Analysis, we have revisited the principles found in the field of Semiology in the 1960s and 70s - Roland Barthes' work around photography and Carlo Ginzburg's work around the evidential paradigm in painting - and then understand the nature of Historical Semiology, developed by Jean-Jacques Courtine. In general, this thesis explains the theoretical...
Résumé: Visant à la réflexion sur les transformations du canon visuel dans les médias numériques à partir des relations entre le discours et l'image, nous nous appuyons dans les postulats de l'Analyse du Discours, issue des travaux du groupe autour de Michel Pêcheux et de contributions de l'oeuvre de Michel Foucault, et nous concevons les hypothèses suivantes qui vont soutenir les considérations développées ici: a) le canon est constitué comme procédure de contrôle du discours et lieu de mémoire, mais la contrainte imposée à ses objets est susceptible de transformations lors de la circulation dans les médias numériques; b) le discours esthétique, mentionné par Michel Pêcheux dans les oeuvres dites de la « troisième époque » de l'Analyse du Discours, indique les voies pour la compréhension de la place de la peinture et des médias dans l'appareil théorique de ce domaine de la connaissance; c) l'histoire de l'Analyse du Discours dessinée par Jean-Jacques Courtine dépeint les limites de la pensée de Michel Pêcheux et l'avancée de la pensée de Michel Foucault par rapport à l'approche de l'image dans sa dimension matérielle, discursive et historique; d) l'énoncé, chez Michel Foucault, a une nature sémiotique/sémiologique, c'est-à-dire qu'il n'est pas forcément réduit à la composante linguistique; pour comprendre ce principe, nous analysons la période entre 1966 et 1968, dans laquelle Michel Foucault a été en Tunisie et développait à la fois, entre d'autres oeuvres, les fondations de sa méthode archéologique (L'Archéologie du savoir) et ses réflexions sur le discours esthétique (La peinture de Manet); e) pour étudier l'approche de l'image et de la peinture dans l'Analyse du Discours, nous revisitons les principes trouvés dans le domaine de la Sémiologie des années 1960 et 70 - comme l'oeuvre de Roland Barthes sur la photographie et celle de Carlo Ginzburg autour du paradigme des indices...
Doutor
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Mazzola, Renan Belmonte [UNESP]. "Discurso e imagem: transformações do cânone visual nas mídias digitais." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/115748.
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000806188.pdf: 2030543 bytes, checksum: 1d918734bcf03d79ca5ab6a113af6ef4 (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Visant à la réflexion sur les transformations du canon visuel dans les médias numériques à partir des relations entre le discours et l'image, nous nous appuyons dans les postulats de l'Analyse du Discours, issue des travaux du groupe autour de Michel Pêcheux et de contributions de l'oeuvre de Michel Foucault, et nous concevons les hypothèses suivantes qui vont soutenir les considérations développées ici: a) le canon est constitué comme procédure de contrôle du discours et lieu de mémoire, mais la contrainte imposée à ses objets est susceptible de transformations lors de la circulation dans les médias numériques; b) le discours esthétique, mentionné par Michel Pêcheux dans les oeuvres dites de la « troisième époque » de l'Analyse du Discours, indique les voies pour la compréhension de la place de la peinture et des médias dans l'appareil théorique de ce domaine de la connaissance; c) l’histoire de l'Analyse du Discours dessinée par Jean-Jacques Courtine dépeint les limites de la pensée de Michel Pêcheux et l’avancée de la pensée de Michel Foucault par rapport à l'approche de l'image dans sa dimension matérielle, discursive et historique; d) l'énoncé, chez Michel Foucault, a une nature sémiotique/sémiologique, c'est-à-dire qu’il n'est pas forcément réduit à la composante linguistique; pour comprendre ce principe, nous analysons la période entre 1966 et 1968, dans laquelle Michel Foucault a été en Tunisie et développait à la fois, entre d'autres oeuvres, les fondations de sa méthode archéologique (L'Archéologie du savoir) et ses réflexions sur le discours esthétique (La peinture de Manet); e) pour étudier l'approche de l'image et de la peinture dans l'Analyse du Discours, nous revisitons les principes trouvés dans le domaine de la Sémiologie des années 1960 et 70 – comme l’oeuvre de Roland Barthes sur la photographie et celle de Carlo Ginzburg autour du paradigme des indices...
Com vistas a refletir sobre as transformações do cânone visual nas mídias digitais a partir das relações entre discurso e imagem, fundamentamo-nos nos postulados da Análise do Discurso, derivada dos trabalhos do grupo em torno de Michel Pêcheux e de contribuições da obra de Michel Foucault, e concebemos os seguintes pressupostos que subsidiarão as considerações a serem aqui desenvolvidas: a) o cânone se configura como procedimento de controle do discurso e como lugar de memória, mas a coerção que impõe a seus objetos é passível de transformações quando circula nos meios digitais; b) o discurso estético, mencionado por Michel Pêcheux nas obras da chamada “terceira época” da Análise do Discurso, sinaliza caminhos para a compreensão do lugar da pintura e da mídia no aparato teórico desse campo do saber; c) a história da Análise do Discurso desenhada por Jean-Jacques Courtine retrata os limites do pensamento de Michel Pêcheux e os avanços do pensamento de Michel Foucault com relação à abordagem da imagem em sua dimensão material, discursiva e histórica; d) o enunciado, para Michel Foucault, possui uma natureza semiológica, ou seja, ele não se reduz necessariamente ao componente linguístico; para compreendermos esse princípio, analisamos o período entre 1966 e 1968, em que Michel Foucault esteve na Tunísia e desenvolvia simultaneamente, entre outros trabalhos, os fundamentos de seu método arqueológico (A arqueologia do saber) e as reflexões sobre o discurso estético (A pintura de Manet); e) para estudarmos a abordagem da imagem e da pintura na Análise do Discurso, revisitamos os princípios encontrados no campo da Semiologia dos anos 1960 e 70 – como a obra de Roland Barthes em torno da fotografia e a de Carlo Ginzburg em torno do paradigma indiciário na pintura – para então compreendermos a natureza da Semiologia Histórica desenvolvida por Jean-Jacques...
In order to reflect on the transformations of visual canon in digital media from the relations between discourse and image, we base ourselves on the postulates of Discourse Analysis, derived from the group around Michel Pêcheux and from the contributions of Michel Foucault's work. We conceive the following assumptions that will subsidize the considerations to be developed here: a) the canon is configured as a discourse control procedure and as place of memory, but the coercion it imposes on its objects is subject to transformations when running in digital media; b) the aesthetic discourse, which is mentioned by Michel Pêcheux in the works called the third age of Discourse Analysis, indicates some paths for understanding the place of painting and media in the theoretical apparatus of this field of knowledge; c) the history of Discourse Analysis designed by Jean-Jacques Courtine depicts the boundaries of Michel Pecheux's thought and the advances of Michel Foucault's thought regarding the image approach in its material, discursive and historical dimension; d) the utterance, according to Michel Foucault, has a semiotic nature, i.e. it is not necessarily reduced to the linguistic component; to understand this principle, we analysed the period between 1966 and 1968, in which Michel Foucault has been in Tunisia and has developed simultaneously, among other works, the foundations of his archaeological method (The archaeology of knowledge) and his reflections on the aesthetic discourse (Manet and the object of painting); e) in order to study the image and painting approach in Discourse Analysis, we have revisited the principles found in the field of Semiology in the 1960s and 70s – Roland Barthes' work around photography and Carlo Ginzburg's work around the evidential paradigm in painting – and then understand the nature of Historical Semiology, developed by Jean-Jacques Courtine. In general, this thesis explains the theoretical...
FAPESP: 2009/54366-0
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Geldenhuys, Natasjia. "The language of forms: A discourse analysis of municipal application forms." University of the Western Cape, 2019. http://hdl.handle.net/11394/6952.
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Magister Artium - MAThis thesis focuses on the genre of municipal documents (application forms) and the variety of written and visual languages that make up their corpus to reveal the various lexical semantics used in the forms as communication tool between individuals and the larger organisations. It was important to review not only how other researchers have dissected such documents, but also what they have used to study their corpus. The thesis also provides a thorough overview of literature pertaining to forms from the municipal and governmental sector as it relates to social semiotics, genre, corporate identity, branding and multimodality. As there was not enough empirical data or research from the African or non-European perspective, a wider literature review was needed to enable me to use a number of complimentary models that could fit the study area. Drawing on a theoretical framework based on the fields of Social Semiotics (Kress 2010; 2014), Applied Linguistics (Brumfit 1996) and Visual Communication (Tam 2008) as well as analytical tools like the genre and multimodality model (GeM), as described in Bateman (2008) and the grammar of visual design (Kress and Van Leeuwen, 2006), branding and language ideology, the study offers an analysis of the language of particular forms used widely by the City of Cape Town (CCT). The language of forms in essence is as unique as a dialogue held between two people to obtain information. Misunderstanding and communication can easily occur if the questions and sections are not formulated correctly. Although both the textual and visual modes were investigated, the aim was to uncover the corpora used on forms with which a basic set of standard words, phrases and sentences could be designed. If the language of forms in a particular organisation like the CCT can be standardised, the amount of effort on the language practitioners will decrease, and the textual components can be made available in all three of the official languages (Afrikaans, isiXhosa and English) in as simple a language structure as possible.
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Aiello, Giorgia. "Visions of Europe : the semiotic production of transnational identity in contemporary European visual discourse /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/6206.
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Rennison, Earl. "The mind's eye : an approach to understanding large complex information-bases through visual discourse." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/62332.
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Barbousas, Joanna Art History & Art Education College of Fine Arts UNSW. "The formation of visual as concept and practice in art education." Awarded by:University of New South Wales. Art History & Art Education, 2009. http://handle.unsw.edu.au/1959.4/44357.
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This research investigates the formation of visual as discursive practice. Discourses that celebrate, denigrate and omit visual are examined with a particular focus on discourses of the child and technology in art education. This thesis applies poststructural methodologies of discourse analysis to disrupt traditional accounts of discipline configurations determined in histories of art education. With a particular focus on Michel Foucault's methods of history, archaeology and genealogy, art education as discipline is mapped through an investigation of visual as concept and practice. This research contends that the emergence of current practices in visual culture, as configured within the constraints of art education amplifies the conditions of visual to define art education as a field. It examines the mobilisation of discourse, verified by discipline formations in art education, and the way in which such formations distribute and categorise knowledge that is sequenced within power structures. Therefore, visual, as a discursive practice is one way through which to trace the conditions of the field, including the structure of discipline as knowledge and subject in art education.
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Sweetapple, Kate, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The rhetoric of distance : a model of the visual narrator in design." THESIS_CAESS_CAR_Sweetapple_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/752.
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This thesis describes the development of a model of the relationships between the designer and their visual outcome that is intended to assist the designers understanding and management of the viewer experience. To date the focus of design discourse has been towards theories of interpretation that offer methods to decode messages, one of the more significant being semiotics. The application of semiotic theory to the field of design has enabled a greater understanding of how meaning is produced in visual communication, it does not account for how the designer affects the type of engagement the viewer has with the material which is a significant aspect of the communication process. The aim of this research is to develop a model of the design/visual outcome relationship that will assist designer’s management of viewer experience. To develop this model, the author examined literary theory as it is a discourse that has analysed its own creative process extensively. While there are many useful parallels that can be drawn between design and literary discourses, it is the notion of distance that is the most useful for this research. Through modifying the textual devices used by an author to create these varying distances, a model that identifies four types of visual narrators was developed – Idiosyncratic, Implicit, Imperative and Esoteric. This research demonstrates the effectiveness of the design concept of distance as a method of analysis for design and proposes how the designers might adopt distance method for considering the viewer experience during the design process, as opposed to leaving it to semioticians to critique post-publicationDoctor of Philosophy (PhD) (Design)
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Murray, Kendal 1958, of Western Sydney Nepean University, and Faculty of Visual and Performing Arts. "The use of abstract and figurative images to evoke emotive qualities characteristic of women's sexuality." THESIS_FVPA_XXX_Murray_K.xml, 1995. http://handle.uws.edu.au:8081/1959.7/646.
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This research paper examines the implications of a feminist appropriation of the fetish and the use of the theory of abjection, as a disruption of phallocentric binary labelling and its notion of idealised femininity. The paper is divided into two sections. The first section includes an analysis of Emily Apter's articles 'Fetishism and Visual Seduction in Mary Kelly's Interim' and an analysis of Janine Antoni's installation 'Gnaw' which form a contextualisation of the issues on which my own visual research is based. These issues revolve around the creation of multiple subject positions for women as both artist and spectator, the recuperation of the seductive image without creating the same power relations apparent in the male gaze and the deployment of an abstract visual femininity to scopically seduce the viewer. In section two, part one, Praveen Adams' article 'The art of analysis: Mary Kelly's Interim and the discourse of the analyst is examined. In this article Adams uses Lacan's theory of discourse to hypothesise that the space of production in Interim is an analogue to the space of production in pyschoanalysis. Part two consists of an examination of the application of the same structural analysis to Antoni's 'Gnaw' and my own 'Compulsive Beauty,' and explores the possibility of a new contextual analysis of feminist artMaster of Arts (Hons)
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Harzman, Joshua Carlisle. "Urban Scrawl: Satire as Subversion in Banksy's Graphic Discourse." Scholarly Commons, 2018. https://scholarlycommons.pacific.edu/uop_etds/3122.
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This thesis analyzes the ways in which Banksy’s street art installations are used to critique sociopolitical injustices. The street has long existed as a platform for social and political movements. In particular, street art offers unique opportunities for voicing criticisms in pioneering ways that have been proven successful in upsetting normative power structures. Anne Theresa Demo’s analysis on the Guerilla Girls’ comic politics of subversion offers an appropriate conceptual lens to analyze Banksy’s employment of perspectives by incongruity as strategies for subversion. Therefore, this thesis analyzes how Banksy’s subversive satire is rhetorical by examining three techniques that have successfully exposed hegemonic institutions: mimicry, revision, and juxtaposition. Further, I argue that Banksy’s street art gallery, Better Out Than In, utilized these techniques in a global, revolutionary manner to bolster access and widen audience participation. Banksy’s street art both spotlights contemporary injustices and provides a frame to interpret the artist’s critical perspectives. By analyzing the ways in which Banksy uses satire as subversion, this thesis illustrates how visual rhetoric can offer liberation for victims of sociopolitical injustice.
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O'Connor, Marie Nicole. "Capturing the memoryscape : alternative visual discourse and the documentaries of Hu Jie and Wang Bing." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/23632.
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Alternative Chinese film culture has become increasingly diverse since the
1990s. This diversification is related to the kinds of films being produced and to who has ‘the right’ to make and to view them. A significant number of new films are documentaries, distinct in form from the newsreels (xinwen pian) or special topic films (zhuanti pian) that represent the more traditional official forms of documentary. Some of these new unofficial (non-state funded) documentaries have attempted to create alternative space for the telling of individual stories about sensitive and traumatic historical periods such as the Great Leap Forward, the Great Famine, and the Cultural Revolution. Such stories are in marked contrast to official visual histories of these periods. This paper’s focus is the new alternative space created by two individual filmmakers, Hu Jie and Wang Bing, who have documented unofficial, individual histories. Three of their films are examined in the context of a film industry that offers them severely limited or no access at all to official channels of distribution. The paper begins by examining the manner in which historical narratives have been and are ongoingly integral to the construction of a specific official view of the Chinese nation. Such official narratives are dominant in state-run environments, such as schools and in the media, and they tend to drown out any attempted alternative narratives. Hu Jie and Wang Bing stand out, even within alternative film culture, as filmmakers willing to challenge official doctrine and history. The narrative styles of three of their films are closely analyzed with a view to understanding how and why their work differs from that of official historical narratives. The approaches taken by the two filmmakers are also compared and contrasted. A major aspect of this project has been the translation of Hu Jie’s film In Search of Soul of Lin Zhao into English. The other two
films examined have already been translated. This paper argues that by privileging the individual narrative, the two filmmakers present more complex versions of traumatic historical periods that stand in contrast to the often idealized or superficial official histories.
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Norte, Fernández-Pacheco Natalia. "The orchestration of modes and EFL audio-visual comprehension: A multimodal discourse analysis of vodcasts." Doctoral thesis, Universidad de Alicante, 2016. http://hdl.handle.net/10045/56429.
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This thesis explores the role of multimodality in language learners’ comprehension, and more specifically, the effects on students’ audio-visual comprehension when different orchestrations of modes appear in the visualization of vodcasts. Firstly, I describe the state of the art of its three main areas of concern, namely the evolution of meaning-making, Information and Communication Technology (ICT), and audio-visual comprehension. One of the most important contributions in the theoretical overview is the suggested integrative model of audio-visual comprehension, which attempts to explain how students process information received from different inputs. Secondly, I present a study based on the following research questions: ‘Which modes are orchestrated throughout the vodcasts?’, ‘Are there any multimodal ensembles that are more beneficial for students’ audio-visual comprehension?’, and ‘What are the students’ attitudes towards audio-visual (e.g., vodcasts) compared to traditional audio (e.g., audio tracks) comprehension activities?’. Along with these research questions, I have formulated two hypotheses: Audio-visual comprehension improves when there is a greater number of orchestrated modes, and students have a more positive attitude towards vodcasts than traditional audios when carrying out comprehension activities. The study includes a multimodal discourse analysis, audio-visual comprehension tests, and students’ questionnaires. The multimodal discourse analysis of two British Council’s language learning vodcasts, entitled English is GREAT and Camden Fashion, using ELAN as the multimodal annotation tool, shows that there are a variety of multimodal ensembles of two, three and four modes. The audio-visual comprehension tests were given to 40 Spanish students, learning English as a foreign language, after the visualization of vodcasts. These comprehension tests contain questions related to specific orchestrations of modes appearing in the vodcasts. The statistical analysis of the test results, using repeated-measures ANOVA, reveal that students obtain better audio-visual comprehension results when the multimodal ensembles are constituted by a greater number of orchestrated modes. Finally, the data compiled from the questionnaires, conclude that students have a more positive attitude towards vodcasts in comparison to traditional audio listenings. Results from the audio-visual comprehension tests and questionnaires prove the two hypotheses of this study.
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Sekki, Satu. "How to Build Discourse Through Visual Communication : Nation Branding as a Tool of Soft Power." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-36731.
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The phenomenon of nation branding has increased its popularity within scholars from different disciplines within the past decade. Moreover, the practice of nation branding has gained a significant role in countries’ foreign politics. However, the number of studies within the field of communication and media is lacking. The phenomenon of nation branding is usually researched from economic or political point of views. This thesis connects communication, media, marketing, and politics by examining nation branding as a tool of soft power. It aims to point out how desired meanings are constructed by using visual communication tools to create a favorable image for a country. The visual approach was chosen to be examined as it is more challenging to transfer messages through visual means than using spoken language. Two countries, Finland, and South Korea, were chosen as case studies due to their different nation branding strategies and international rankings. Their promotional videos were analyzed by using qualitative empirical descriptive method by utilizing tools provided by multimodal critical discourse analysis. The descriptive analytical method was chosen as the videos are meant as promotional materials which use over simplified narrative methods so that viewer could understand them easily. The concepts of nation, nation branding, discourse, ideology, soft power, public diplomacy, media, visual communication, and power were used as a theoretical framework. The study shows how discourse is constructed using visual representations as well as what kind of values can be transferred by using visual communication tools to influence on the foreign audience’s perceptions of the country.
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Neta, Elisa de Araújo Barreto. "O discurso argumentativo na publicidade : uma análise verbo-visual." Universidade Católica de Pernambuco, 2010. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=479.
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A publicidade apresenta um discurso eficaz que estimula o comportamento consumidor dos sujeitos, desde produtos até causas sociais. Para tanto, são utilizados textos verbais e textos não verbais dispostos em anúncios permeados de
persuasão, onde estão presentes o ―ethos‖, o ―logos‖ e o ―pathos‖ visando seduzir intelectual e emocionalmente o consumidor. Entre as causas sociais, pode ser
enfocada a mobilização de recursos para hospitais filantrópicos, que cada vez mais necessitam diversificar suas fontes de renda, encontrando apoio no contemporâneo
movimento de solidariedade. Nes se sentido, o objetivo desta pesquisa é analisar as estratégias argumentativas presentes em textos e imagens de uma campanha publicitária para a mobilização de recursos numa instituição filantrópica na Cidade
do Recife. O corpus é o material de uma campanha intitulada ―Cartões de Natal‖, visando arrecadar fundos para um centenário hospital da cidade, composto por três anúncios de jornais veiculados entre novembro e dezembro de 2007. A pesquisa é qualitativa e exploratória, e como recursos técnicos se utilizam análise bibliográfica e uma análise do discurso verbo-visual presente em peças publicitárias. Esta leitura se fundamenta em uma concepção de que existe uma articulação entre uma enunciação, um enunciado concreto e um enunciado, o que envolve elementos como a situacionalidade, a intertextualidade, a intencionalidade, entre outros, a se caracterizar como estratégia argumentativa. Assim, com este trabalho há uma reflexão sobre o direcionamento que o terceiro setor está dando à publicidade social, grande aliada para gerar visibilidade às causas sociais, e com isso, ter ampliado os espaços de discussão, sobretudo porque ela traz no seu discurso mensagens que
despertam a conscientização e sensibilização dos cidadãosPublicity presents an efficient discourse which stimulates in people the consuming behavior, of either products or social causes. In order to have this happening, it uses verbal or non-verbal texts, arranged in commercials full of expressions of persuasion, in which one will find the ―ethos‖, the ―logos‖, and the ―pathos‖, wishing to intellectually and emotionally seduce the consumer. Among the social causes, one will find fund raising campaigns for philanthropic hospitals, which need more and more to diversify their sources of income, specially supported by contemporary movements of solidarity. Accordingly, the objective of this work is to analyze the argumentative strategies present in texts and images of a publicitary fund raising campaign for a philanthropic institution in the city of Recife. The corpus is the campaign material entitled ―Christmas Cards‖, destined to raise funds for a centennial hospital in the city, composed of three papers commercials issued between November and December of 2007. The method is qualitative and exploratory, and takes bibliographical analyses of the verbal-imaging discourses in the commercials as its main technical instruments. The approach is based on the idea that there is an articulation between an enunciation, a concrete annunciate and an announcement, which includes the situationality, the intertextuality and the intentionality as argumentative strategy. This dissertation, thus, brings up a reflection on the direction that the third sector is giving up to social publicity, great allied as it is to generate visibility to the social causes and this way to widen the discussion spaces, mainly because it brings together with its discourses messages that waken up the citizens consciousness and sensibility
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Ferrada, Stoehrel Rodrigo. "The mediation of affect : security, fear and subversive hope in visual culture." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-127052.
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The overarching purpose of this study has been to problematise how visual practices and the mediation of affect is linked to the capacity to produce (new) perceptual realities, sensations and imaginaries, ultimately aiming to legitimate or counter-legitimate the hegemonic discourses and practices mobilised in the name of security. The first part of my thesis approaches this matter through an analysis of media cultures and discursive systems circulating within the court and the state military. Here, I discuss the impact of affect in the judicial-policial production of visible evidence (paper 1; published in the International Journal for the Semiotics of Law) and the state military (visual) narrative of threat (paper 2; published in MedieKultur: Journal of media and communication research). Additionally, as affect runs counter to hegemonic power relations as well as reinforces them, the second part of my thesis focuses on the way in which different resistance collectives cultivate affective dimensions through aesthetic practices in order to foster political attitudes that contest the established discourses of the (in)secure. Here, I examine the online activist group Anonymous’ visual political communication (paper 3; published in TripleC - Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society), and the Spanish movement Podemos’ visual and verbal discursive strategies (paper 4; forthcoming in Cultural Studies). In terms of theoretical and methodological approaches, I have my roots in, among others, Mouffe’s (2005) notion of conflict and (political) affect, Foucault’s (1980) concept of power/knowledge, and Thompson’s (1984; 1990) three-dimensional framework of ideology- analysis. In paper 1, my findings suggest that camera-produced images and technical and dramaturgical elements may have unintentional judicial consequences when they are read as evidence. I detail how this production of visible evidence can potentially stimulate and elicit emotional reaction, as well as discussing the degree to which pictorial crime evidence fails to be an instrumental and neutral representation of truth. In paper 2, my findings point in the direction where the military representation of the ‘Other as threat’ connects to aspects of economic globalisation and the (inter)national production of defence materiel. In article 3 (co-authored with Lindgren 2014) my findings suggest that citizen participation in public matters can be made engaging through the mobilisation of that which Anonymous calls ‘the lulz’; a tickling joy/pleasure (also, a sense of meaningfulness) of standing against power abuse through, for example, online direct action and culture jamming practices. Paper 4 explores the relationship between the affective and the visual using a broader security framework. Here, my findings indicate that Podemos’ discursive battle for social protection and economic security in a context of the crisis of political representation, is no longer framed through the traditional left-right conflict, but within the post- ideological (affective) articulation of ‘the new’ versus ‘the old’ and/or other discursive differences. I show how affect works as a potential for social change, by analysing the strategic production of a ‘We-Them’ discourse using Podemos’ take on social media and the media logic of mainstream television.
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Blatter, Janet. "Drawing inferences : drawing, discourse, and spatio-motor representation in an animation storyboarding activity." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85131.
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A case study of collaborative storyboarding in an animation studio grounded this investigation of visual discourse---discourse about and with visual displays. The focus was on a problem occurring during a 40-minute task between the head storyboard artist and his junior colleague in reviewing a rough, conceptual storyboard. The research investigated the role of different semiotic modalities produced by the artists', i.e., speech, gesture, and drawing, in mediating spatial (frames of reference) and motion (action and path) representations and inferences from the storyboard. One aim was to determine if particular modalities were used to represent particular spatial and motion ideas.Both qualitative discourse and quantitative analyses were undertaken to associate the individual discourse modality in co-occurring external representations (speech, gesture, or drawing), with spatial and motion ideas required to understand the storyboard. The results showed that (a) most modalities did not consistently or uniquely represent specific types of spatial and motion ideas, (b) representations frequently demonstrated a mismatching between spoken and gestured or drawn ideas, (c) spatial representation in particular required the artists to represent specific goal domains as contexts that determined the frame of reference and local sense of the representation, and (d) a more complex drawing style was used at the beginning of the problem than in the latter solution stages.
These findings are discussed in terms of the artists' (a) flexibility needed to traverse between 2-D and 3-D imagined worlds requiring the representation of different spatial coordinate systems, (b) handling of the modalities in visual discourse as supporting this flexibility, and (c) strategic use of drawing styles to assist inferring 3-D dynamic action from an incomplete, 2-D, static storyboard. The study demonstrates the importance of considering activity goals and interacting semiotic modalities as contributing to the knowledge needed to represent and infer space and motion. These findings are significant to research on the knowledge and tools used to infer space and motion from static visual displays in authentic collaborative design activities, and have implication for research on technologies and environments supporting collaborative visual thinking in design settings.
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Woerner, Joanna L. "Mixing bits and pieces how technical writers meet the needs of larger writing communities through intertextuality /." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1165269120.
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Ramakrishnan, Srilakshmi. ""Modernization of Tradition": Contested Discourses and Negotiated Ideologies of Fairness, Gender, and Morality in the South Indian Media." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194410.
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This dissertation explored the ways in which the everyday life practices of most urban Indians embodied the "modernization of tradition" (Hancock, 1999) and the role that media texts played in facilitating and encouraging this modernization. The research is based on six months of ethnographic fieldwork conducted from June through December 2005, in the south-Indian city of Chennai, which has traditionally been regarded as a conservative city. Examining the Indian media as a discursive site where normative ideologies are not only constructed but also co-constructed, the study explored and examined how the discourses of tradition and modernity were contested in the south Indian media. It also identified and interpreted the ways in which dominant ideologies at the nexus of color/caste and gender/morality were negotiated by an urban city and its residents in the move towards modernity.Data included three different but inter-related sub-genres of print media texts -- visual images, textual advertisements, and news articles. The primary dataset of visual images consisted of 300 product advertisements culled from four, nationally available, English-language magazines gathered from the two genres of news and film. Textual data sets comprising the matrimonial advertisements and the news articles were gathered from the local editions of two nationally-available English-language newspapers. The broader ethnographic investigation included participant observations, individual formal and informal interviews, and focus group discussions with adult residents of Chennai. The data were analyzed using a multi-discursive and multidisciplinary approach. The analyses were informed by conceptual approaches which included: social semiotics and the multimodal theory of communication, genre analysis, critical discourse and feminist critical discourse analyses, and alternative modernities.In examining the media texts as the site where dominant sociocultural ideologies were being constantly configured and reconfigured, the analyses identified and examined the workings of three interconnected themes - fairness (in relation to skin color), gender, and morality. Through these themes, the dissertation examined the larger contestations and negotiations between the discourses of traditions and modernities as experienced by adult residents of urban Chennai. The discourses of identity construction and reconstruction were thus examined at the nexus of the individual self situated within the larger frame of the city.
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Gladston, Paul. "Art history after deconstruction : is there any future for a deconstructive attention to art historical discourse?" Thesis, University of Nottingham, 2004. http://eprints.nottingham.ac.uk/12638/.
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Over the past two decades institutionally dominant art history has been strongly influenced by the theory and practice of deconstruction. While many art historians have embraced deconstruction as a productive means of unsettling and remotivating standard forms of art historical discourse, others have raised concerns over what they see as a widespread departure from the most basic tenets of art historical discourse; that is to say, not only the belief that there is a circumscribed category of aesthetic experience (art), but also that it is possible to arrive at a truthful representation of the relationship between works of art and the circumstances of their production and initial reception (history). Moreover, many of those same commentators have railed against the way in which this departure can be understood to have suspended any sense of a stable, structural connection between a historical is and a present ought; in other words, the notion that a truthful understanding of past events has the potential to inform ethico- political activity in the here and now. Our intention here is to problematize this apparent schism by demonstrating that art historical discourse has drawn the very possibility of its continuing conceptuality since Antiquity from a chronic and, for the most part, unconscious deconstructive interaction between the signifying ‘texts’ of art history and what might be seen as the various material, social and intellectual forces pertaining to the wider historical ‘contexts’ of their production and reception. Thus, we will have attempted to show that deconstruction is indivisible from continuing discursive attempts to arrive at a ‘truthful’ understanding of the past. In addition to this we will also attempt to show - with reference both to the writings of Jacques Derrida and a Duchampian inheritance in the visual arts - that it is possible to develop deconstructive forms of historical narrative through which we might engage critically with questions of ‘ethico- political’ value.
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Musneckienė, Edita. "The Discourse of Visual Culture in Training Teachers of Art in the Context of Postmodern Educational Paradigm." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20080925_100714-55297.
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The present dissertation deals with the discourse of visual culture as a conceptual background of art education, vital in the context of changing paradigms of culture and education. The aim of the research is to reveal the importance of visual culture in art education, to investigate the need for studies of visual culture as well as problems and perspectives of training teachers of art. The research problem is linked with the situation of art education in Lithuania, where the discourse of visual culture is a new research field. The dissertation provides a theoretical grounding of assumptions for developing visual culture on all levels of art education. In implementing visual culture in the postmodern curriculum, the problem of art teachers’ competence and preparation is of utmost importance. The research questions were as follows: what curriculum changes does visual culture bring in art education? What art teachers’ competences should be developed in the postmodern educational paradigm? How are art teachers prepared to accept visual culture in art education and what competences do they need to develop? What are the prospects of art teacher training with the developing of the concept of visual culture education? The survey of art teachers and experts in art education revealed that classical and modernist tendencies predominate in art education, unable to cover a wide field of visual culture, the variety of new technologies, the multicultural diversity of art experience, and... [to full text]Disertacijoje nagrinėjamas vizualinės kultūros diskursas kaip konceptualus meninio ugdymo pamatas, aktualus šiuolaikinės kultūros ir ugdymo paradigmų kaitos kontekste. Tyrimo tikslas – atskleisti vizualinės kultūros edukacinį reikšmingumą ir ypatumus meniniame (dailiniame) ugdyme, ištirti vizualinės kultūros studijų poreikį, problemas ir perspektyvas rengiant dailės pedagogus. Tyrimo problema siejama su meninio ugdymo situacija Lietuvoje, kur vizualinės kultūros diskursas yra nauja tyrimų sritis. Disertacijoje teoriškai pagrindžiamos vizualinės kultūros ugdymo prielaidos visuose meninio ugdymo lygiuose ir per jų sąveiką. Realizuojant postmodernų meninio ugdymo turinį ypač aktuali yra dailės pedagogų kompetencijos ir pasirengimo problema. Tyrimu siekta atsakyti į klausimus, kaip vizualinės kultūros fenomenas keičia šiuolaikinio meninio ugdymo pobūdį ir lemia jo turinį, kokios dailės pedagogo kompetencijos turėtų būti plėtojamos vizualinės kultūros ir postmodernios edukacinės paradigmos kontekste, kaip dailės pedagogai yra pasirengę priimti pokyčius ir plėtoti savo kompetencijas, kokios numatomos vizualinės kultūros studijų įprasminimo perspektyvos rengiant dailės pedagogus. Dailės pedagogų ir ekspertų apklausos rezultatai patvirtino, kad meniniame ugdyme vyrauja klasikinės ir modernistinės tendencijos, nepajėgiančios aprėpti vizualinės kultūros gausos, technologijų įvairovės, atskleisti daugiakultūrinės meninės patirties, reaguoti į aktualius socialinius reiškinius... [toliau žr. visą tekstą]
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Dawson, Thomas. "Red Lines & Hockey Sticks : A discourse analysis of the IPCC’s visual cultureand climate science (mis)communication." Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445887.
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Within the climate science research community there exists an overwhelming consensus on the question of climate change. The scientific literature supports the broad conclusion that the Earth’s climate is changing, that this change is driven by human factors (anthropogenic), and that the environmental consequences could be severe. While a strong consensus exists in the climate science community, this is not reflected in the wider public or among policymakers, where sceptical attitudes towards anthropogenic climate change is much more prevalent. This discrepancy in the perception of the urgency of the problem of climate change is an alarming trend and likely a result of a failure of science communication, which is the topic of this thesis. This paper analyses the visual culture of climate change, with specific focus on the data visualisations comprised within the IPCC assessment reports. The visual aspects of the reports were chosen because of the prioritisation images often receive within scientific communication and for their quality as immutable mobiles that can transition between different media more easily than text. The IPCC is the central institutional authority in the climate science visual discourse, and its assessment reports, therefore, are the site of this discourse analysis. The analysis tracks the development and variations in the IPCC’s visual culture, investigates in detail the use of colour and the visual form of the “Hockey Stick” graph. This work is undertaken to better understand the state of the art of climate science data visualisation, in an effort to suggest the best way forward to bridge the knowledge gap between the scientific community and the public on this important issue. The thesis concludes that a greater emphasis on the information aesthetics of their data visualisations could benefit the IPCC’s pedagogical reach, but that it may also be argued that it is not the IPCC’s role in climate change discourse to produce the most visually persuasive images. That they exist as a tone-setting institution that provides authority to entities that are better geared towards wider communication, such as journalism and activism.
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Moot, Dennis. "Visual Culture, Crises Discourse and the Politics of Representation: Alternative Visionsof Africa in Film and News Media." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596021641358625.
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Botha, Michelle. "Blindness, rehabilitation and identity: a critical investigation of discourses of rehabilitation in South African non-profit organisations for visually impaired persons." Doctoral thesis, Faculty of Health Sciences, 2021. http://hdl.handle.net/11427/33440.
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This study explores the role of rehabilitation in shaping the subjectivity of blind persons. It considers what engaging with rehabilitation services might communicate to people with visual impairments about their status, their value and their place in the world. Rather than being concerned with the practical aspects of rehabilitation, it explores how rehabilitative practices operate at the symbolic level, and interrogates the meanings about blindness which are produced within relationships where help is given and received. Drawing on Foucauldian concepts, this research traces the interplay between discourse, power and knowledge in rehabilitation services. The research design includes two phases. Through analysing the website copy of eight organisations located across South Africa, Phase One identified discourses employed by organisations as they represent themselves in the public realm. In Phase Two, semi-structured interviews were conducted with eight service providers and eighteen service users across four organisations operating in the Western Cape province of South Africa. This phase identified the discourses framing rehabilitative activities and relationships. Visually impaired participants described sight loss as a significant trauma – as dislocation from society and self – revealing that service users might be particularly vulnerable to the shaping influence of rehabilitation. Data analysis found, firstly, that the discourses which frame rehabilitation services position visually impaired service users as passive recipients in relation to the work of service providers and the gifts of the public. This positioning objectifies service users and may signal to them that they are neither valued as stakeholders nor recognised as autonomous adults, while also requiring that they demonstrate gratitude towards service providers and the public. Secondly, rehabilitation is constructed as a linear journey with strictly defined outcomes. This ‘journey discourse' relies on polarised fantasies about blindness involving, on the one hand, dependency, dislocation and struggle and, on the other, independence, integration and coping. Visually impaired service users are required to demonstrate evidence of the latter while the former shadowy figure of pre-intervention blindness must be defended against. This discourse prohibits nuance and expressions of ongoing struggle, underpinning an imperative to cope found within organisations. Amid limiting discursive practices in rehabilitation, a key finding is that visually impaired service users are involved in complex negotiations of self and place. Investigating the discourses which frame and support rehabilitative practices sheds light on investments in promoting particular ways of being for visually impaired people, prompting us to consider what service providers, service users and, indeed, society as a whole might be colluding with. This work offers a novel perspective on blindness rehabilitation in South Africa as it explores an interplay between essential practical interventions found in rehabilitation and the influences on identity which those who experience sight loss undergo as they move into a new life with visual impairment.
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Barreto, Neta Elisa de Araújo. "O discurso argumentativo na publicidade : uma análise verbo-visual." Universidade Católica de Pernambuco, 2010. http://tede2.unicap.br:8080/handle/tede/717.
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Previous issue date: 2010-03-23Publicity presents an efficient discourse which stimulates in people the consuming behavior, of either products or social causes. In order to have this happening, it uses verbal or non-verbal texts, arranged in commercials full of expressions of persuasion, in which one will find the ―ethos‖, the ―logos‖, and the ―pathos‖, wishing to intellectually and emotionally seduce the consumer. Among the social causes, one will find fund raising campaigns for philanthropic hospitals, which need more and more to diversify their sources of income, specially supported by contemporary movements of solidarity. Accordingly, the objective of this work is to analyze the argumentative strategies present in texts and images of a publicitary fund raising campaign for a philanthropic institution in the city of Recife. The corpus is the campaign material entitled ―Christmas Cards‖, destined to raise funds for a centennial hospital in the city, composed of three papers commercials issued between November and December of 2007. The method is qualitative and exploratory, and takes bibliographical analyses of the verbal-imaging discourses in the commercials as its main technical instruments. The approach is based on the idea that there is an articulation between an enunciation, a concrete annunciate and an announcement, which includes the situationality, the intertextuality and the intentionality as argumentative strategy. This dissertation, thus, brings up a reflection on the direction that the third sector is giving up to social publicity, great allied as it is to generate visibility to the social causes and this way to widen the discussion spaces, mainly because it brings together with its discourses messages that waken up the citizens consciousness and sensibility
A publicidade apresenta um discurso eficaz que estimula o comportamento consumidor dos sujeitos, desde produtos até causas sociais. Para tanto, são utilizados textos verbais e textos não verbais dispostos em anúncios permeados de persuasão, onde estão presentes o ―ethos‖, o ―logos‖ e o ―pathos‖ visando seduzir intelectual e emocionalmente o consumidor. Entre as causas sociais, pode ser enfocada a mobilização de recursos para hospitais filantrópicos, que cada vez mais necessitam diversificar suas fontes de renda, encontrando apoio no contemporâneo movimento de solidariedade. Nes se sentido, o objetivo desta pesquisa é analisar as estratégias argumentativas presentes em textos e imagens de uma campanha publicitária para a mobilização de recursos numa instituição filantrópica na Cidade do Recife. O corpus é o material de uma campanha intitulada ―Cartões de Natal‖, visando arrecadar fundos para um centenário hospital da cidade, composto por três anúncios de jornais veiculados entre novembro e dezembro de 2007. A pesquisa é qualitativa e exploratória, e como recursos técnicos se utilizam análise bibliográfica e uma análise do discurso verbo-visual presente em peças publicitárias. Esta leitura se fundamenta em uma concepção de que existe uma articulação entre uma enunciação, um enunciado concreto e um enunciado, o que envolve elementos como a situacionalidade, a intertextualidade, a intencionalidade, entre outros, a se caracterizar como estratégia argumentativa. Assim, com este trabalho há uma reflexão sobre o direcionamento que o terceiro setor está dando à publicidade social, grande aliada para gerar visibilidade às causas sociais, e com isso, ter ampliado os espaços de discussão, sobretudo porque ela traz no seu discurso mensagens que despertam a conscientização e sensibilização dos cidadãos
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黃嘉輝 and Ka-fai Wong. "The problems of visual discourse: a study of the politics of representation with special reference to thephotographic image." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208988.
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Téllez, Duval Dulce Karenina. "Children's Representations of Death : A Thematic and Visual Discourse Analysis of Children's Drawings in a Mexican Primary School." Thesis, Linköpings universitet, Tema Barn, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-152774.
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This study focuses on analysing Mexican children’s representations of death inasmuch as children are perceived as social actors that have an active role in constructing and giving meaning to social reality. The importance of analysing children’s representations about death is that it provides an opportunity to know how children give meaning to a notion that intersects with personal experiences, emotions, religious beliefs, and a sociocultural context. Therefore, the aim of this study is to analyse, visually and verbally, the ways in which children - from 8 to 9 years of age - in a Mexican primary school represent their understanding of death through their drawings and their oral descriptions of them, which may unveil their opinions on the subject. The research material consists of the drawings and interviews of primary school children in Mexico. The girls and boys, who were in third grade, were selected from a school population based on a convenience sampling (Bryman 2016, p.187). The method of analysis is a combination of thematic analysis and Rose’s visual discourse analysis I. The main findings are that the participants represented their understanding of death in terms of realistic, fantastic and afterlife narratives according to their experiences. Most of the participants’ visions of death were represented with archetypal symbols of death, such as death personified. Contrary, the representations of the few participants who had a personal loss were realistic, except for one of them. In this sense, children’s representations of death draw on discourses imbued in visual media, religion, morality, and culture. Children's emotions about death varied according to their experiences, although most participants said that they do not fear death. Regarding life after death, most participants recognize a duality between body and soul. While the body dies, the soul lives and the place where the soul goes was perceived mainly in moralistic terms.
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Cosgrove, Samantha Jo. "Drop, Cover, and Hold On: Analyzing FEMA's Risk Communication through Visual Rhetoric." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6211.
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This project seeks to understand the relationship between visual rhetoric and power structure between FEMA’s Earthquake publications and their audience. Research shows images leave a longer impression on readers than text, causing more studies to focus on visuals rather than just text in technical communication. Author uses Critical Discourse Analysis to analyze the images in relation to text, design, and intended audience to determine what information is being privileged. It is determined that homeowners are being privileged with information over non-homeowners, established through a collection of images and image types. The lack of information for non-homeowners could result in injury or death of potential disaster victims, making it crucial for technical document revision.
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Munro, Jenny. "Riffaterrean ungrammaticality and Ricoeurian discourse as performance in the films and collaborations of Claire Denis." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5610/.
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This thesis seeks to interrogate the presence and purposes of intertextuality in the work of contemporary French filmmaker Claire Denis, with specific focus on Michael Riffaterre’s theories of ungrammaticality, and Paul Ricoeur’s work on discourse as event or performance. Neither Riffaterre nor Ricoeur’s theories of intertextuality have been engaged in much depth in the study of cinema. Denis’s œuvre, which is composed mainly of feature films, but also includes short films, documentaries, music videos and collaborations on exhibitions and live concerts, is vastly intertextual, engaging with other moving image media, music, visual art, philosophy, poetry and literature, and media coverage of real events. In current criticism, Denis and many of her fellow contemporary French female filmmakers are more commonly referred to through a gender-neutral prism of auteurism rather than with reference to their gender, which may be read as a means for a female director to disengage with any categorisation of her work as resolutely female-centric. The auteur label is problematic, however, as it tends to suggest a state of creative isolation and supremacy, where the author’s recognizable creative voice as it appears throughout their work is more important than any other element of a film. This description sits particularly uneasily with the work of Denis, for whom collaboration and intertextual engagement with other sources is vital; this is evident in Denis’s consistent highlighting of the importance of her regular collaborators’ contributions to her work, and the texts with which her films engage, in interviews. Interviews with Denis, therefore, will form as important an element of my primary research material as her corpus of films and other works. In the introduction to this thesis, I will highlight some of the main themes and concerns of Denis’s work, namely foreignness, intrusion and the body, and introduce the corpus of critical work which has explored them. Such themes will certainly arise in my work, but will always be explored through the foregrounding of Riffaterre and Ricoeur’s theories of intertextuality. I will then proceed to briefly examine how Denis may be read as an intertextual auteur, though the phrase may as yet seem something of an oxymoron. The main body of the thesis thereafter will be used to search Denis’s œuvre for intertexts, aligning specific films and other creative endeavours together wherever they share particular themes or may be read productively through a particular theory of intertextuality. My aim, eventually, will be to examine how this intertextual richness may lead to a re-evaluation of Denis not as an auteur in the conventional sense, but as one for whom collaboration and textual openness are crucial.
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Noguera, Teresa. "Supporting children's narrative composition : the development and reflection of a visual approach for 7-8 year-olds." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6427.
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At the heart of present literacy, and narrative, learning paradigms are the "literate behaviours" usually associated with aspects of learning to encode and decode print. These paradigms have been criticized for placing written and verbal language in a privileged position. Furthermore, whilst an increasing number of theorists and educators are asking for the inclusion of multimodal approaches to learning narrative, current curricula, and the research that informs it, continue to be founded on "verbocentric" approaches and linear forms of narrative expression. Through the development and evaluation of a curricular approach to narrative learning for 7-8 year-olds based on the visual arts, this study aims to ascertain whether there is a need for broader conceptions of narrative as well as for complementary modes of narrative composition than those currently being used in primary schools. Documentation in the form of the children‘s painted narratives and transcripts of the children's oral accounts of their narratives was the major component of data collection. Individual and small group interviews and participant observation were supplementary sources to assist in the interpretation of the narrative paintings the children composed. The children‘s narratives were analysed using a narratological semiotic model, which divides narrative into 'discourse' and 'story' and distinguishes between the 'content' and 'form' of each of these elements.
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Sjöberg, Johanna. "I marknadens öga : Barn och visuell konsumtion." Doctoral thesis, Linköpings universitet, Tema Barn, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-92787.
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Barn är konsumenter, får reklam riktad till sig och syns i reklam. Men om det är rätt och på vilka sätt det bör ske ger upphov till diskussion, såväl i som utanför akademin. Den här studien granskar hur barn görs till en del av konsumtionssamhället genom det lag- och regelverk som omgärdar barn, konsumtion och reklam samt i tre typer av vardagsreklam där barn på olika sätt synliggörs; adresserad direktreklam som skickas hem till tre nyblivna föräldrar under barnets första år, reklam i ett års utgivning av 12 tidningar för barn samt annonser med bilder av barn publicerade i ett års utgivning av fyra tidningar med en vuxen målgrupp. I studien undersöks hur barn framställs och görs som social kategori och som konsumenter i materialen och vad det säger om barns roll och plats i konsumtionssamhället. Med hjälp av kritisk visuell diskursanalys och begreppet barnighet visar analysen med vilken komplexitet och ambivalens barn uppfattas, framställs och bemöts. Lag- och regelverket är komplicerat och ger en dubbeltydig bild av barns rätt till skydd respektive rätt till deltagande. Vardagsreklamens bilder av barn gör dem till objekt att konsumera visuellt samtidigt som normer om den ideala barndomen och den goda betraktaren produceras och reproduceras. Till nyblivna föräldrar framställs diskurser av barn som konsumtionsbehövande på sätt som osynliggör reklamens övertalande budskap. Reklam som riktas till barn själva utgörs av hybridformer där annonser bara är en del, vilket innebär att det som är reglerat som reklam inte är detsamma som det som gör reklam till barn. Utsatthet och skydd, kompetens och rättigheter samt lärande och ålder är tematiker som på olika sätt aktualiseras i samtliga empiriska material. Studien bidrar med förståelse och problematisering av vad barn är och tillåts vara i dagens visuella konsumtionskultur.Children are consumers and they are marketed to and visible in advertising. But how children, consumption and advertising should be combined cause debate, both in the public sphere and in academia. The dissertation investigates how children are visualized and made as a social category and as consumers in the consumer society by studying the legal framework regarding children, consumption and advertising as well as three types of advertising that people encounter in their everyday lives; advertisements showing children published during one year in four magazines with an adult target group; and addressed direct marketing that was sent to three first-time parents; advertisements in one year's publication of 12 magazines for children. Using critical visual discourse analysis and the concept of childity, the analysis shows the complexity and the ambivalence that characterizes the ways in which children are seen, represented and addressed. The legal framework is complicated and is ambiguous regarding children's right to protection vis-à-vis their right to participate. Advertisements that visualize children produce and reproduce norms concerning the ideal childhood. In order to get parents to consume on behalf of their children, neutral and factual discourses about children's character and needs are articulated. Advertising that is aimed at children consists of hybrids between adverts and editorial material, indicating that it is not only marketing that is regulated by the legal framework that actually markets to children. Vulnerability and protection, competence and rights as well as learning and age are themes that are actualized in different ways in all of the empirical material. The study contributes a new understanding and problematization of what children are, and are allowed to be, in our contemporary visual consumption culture.
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Chung, Kin-tim, and 鍾建添. "The influence of subject-matter knowledge, English proficiency and audio-visual induced schemata on L2 reading comprehension ofscientific discourse." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31960819.
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Wong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /." [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.
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Tyrer, Eric. "The social-semiotic discourse of the visual element in UK-produced English as a foreign language coursebooks 1960-2009." Thesis, University of Brighton, 2012. https://research.brighton.ac.uk/en/studentTheses/a7fcdb9b-e23d-424e-9c3e-dac6d2e7b611.
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This study is an analysis of the visual element of an archive (or corpus) of popular UK EFL coursebook series produced between 1960 and 2009. During this time, the increasing globalisation of the world economy, and the parallel development of English as a world language, raised moral and pedagogic questions regarding the ownership of English and the promotion of an Anglophone neo-liberal agenda. This prompted questions regarding EFL coursebooks and the extent to which they, implicitly or explicitly, promoted such an agenda, and the degree to which they could be said to be appropriate for the many global contexts in which such books were marketed and used.
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Nothnagel, Ignatius. "Conceptual metaphors in media discourses on AIDS denialism in South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1653.
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Thesis (MA (General Linguistics))--University of Stellenbosch, 2009.According to Nattrass (2007:138), the denial and questioning of the science of HIV/AIDS at government level by, amongst others, Thabo Mbeki (former State President) and Manto Tshabalala-Msimang (former Minister of Health) resulted in an estimated 343 000 preventable AIDS deaths in South Africa by 2007. Such governmental discourse of AIDS denialism has been the target of criticism in the media and by activist groups such as the Treatment Action Campaign. This study investigates the nature of this criticism, specifically considering the critical use of metaphor in visual texts such as the political cartoons of Jonathan Shapiro, who works under the pen name of “Zapiro”. The purpose is to determine whether the nature of the criticism in visual newspaper texts differs from that of corresponding verbal newspaper texts, possibly providing means of criticism not available to the verbal mode alone. A corpus of texts published between August 1999 and December 2007 that topicalise HIV/AIDS was investigated. This includes 119 cartoons by Zapiro, and 91 verbal articles in the weekly newspaper Mail & Guardian. The main theoretical approach used in the analyses is Conceptual Metaphor Theory, developed by Lakoff and Johnson (1981), and its extension to poetic metaphor, developed by Lakoff and Turner (1989). Because of the socio-political nature of the problem of HIV/AIDS, the study also draws on Critical Discourse Analysis, including complementary concepts from Systemic Functional Linguistics. The study reveals that visual and verbal texts make use of similar sets of conventional conceptual metaphors at similar frequencies, which confirms the predictions of Conceptual Metaphor Theory. The study further reveals that the cartoons enrich these metaphors through four specific mechanisms of poetic metaphor, which the verbal articles do not. This indicates a significant difference between the two types of texts. Furthermore, it is found that the use of such poetic metaphors directly contributes to the critical power of the political cartoons. The study indicates that multi-modality in cartoons, which triggers single metaphoric mappings, adds a dimension to the critical function of the text that is absent in the verbal equivalent. The finding that the visual texts enable a form of cognition that is not available to verbal texts, poses one of the most significant avenues for future research. Thus, cartoons apparently achieve a type of criticism that is not found, and may not be possible, in the verbal texts alone. This makes the political cartoon a text type with an important and unique ability to articulate political criticism.
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Wolf, Birgit. ""Shaping the visual" of gender based violence." Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/129680.
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Si tenemos en cuenta todos los esfuerzos realizados para resolver el generalizado fenómeno social de la violencia contra las mujeres, hemos de considerar que la información, el aumento de la concienciación sobre este tema y el rol de los medios de comunicación constituyen los puntos clave de las más importantes convenciones y declaraciones internacionales para erradicar la violencia contra las mujeres. Desde 1970, los movimientos de mujeres en contra de la violencia, han hecho contribuciones esenciales para que se reconozca que la violencia contra las mujeres constituye una violación de los derechos humanos esenciales, y es uno de los puntales básicos en el campo de la prevención de la violencia y de la toma de conciencia sobre estos aspectos. Por tanto, las respectivas iniciativas que se han ido tomando, incluyendo las que se componen de material audiovisual, son de una gran importancia, más si tenemos en cuenta que para la población europea, la televisión es la fuente más importante de información sobre violencia doméstica contra las mujeres. Además, la misma violencia de género es también la forma más frecuente de violencia contra las mujeres en Europa (European Commission, 2010a). Si miramos las representaciones en los medios de comunicación, podemos observar como diferentes programas y formatos muestran una narratividad visual similar que se basa en clichés e imaginarios sociales sobre la violencia doméstica, mientras que la naturaleza sistemática del problema permanece oculta (Bonilla Campos 2008; Boyle 2005; Geiger 2008; Lopez Diez 2005, Taylor 2009). Consecuentemente, existe una falta de claridad en el discurso mediático audiovisual que no permite la comprensión de la complexidad social de la violencia doméstica de los hombres contra las mujeres. Por lo tanto, la representación visual de la violencia de género es una muestra crucial de la creación discursiva de significado social, que surge de las iniciativas que pretenden acabar con este fenómeno social, así como de una práctica discursiva en curso y bastante cliché en los medios de comunicación.
Así, las imágenes difundidas por los movimientos de mujeres en contra de la violencia, constituyen el objeto de estudio principal de esta tesis doctoral. Se analiza el material audiovisual proporcionado por los movimientos anti-violencia con el propósito de conocer las supuestas representaciones alternativas que se forman como una réplica a la mirada ‘malestream’ de los medios de comunicación sobre este tema. Reconociendo la dimensión simbólica, estructural y directa de la violencia de género y partiendo de una perspectiva feminista, se analizarán las contribuciones del discurso del material audiovisual producido por las iniciativas “anti-violencia” en un periodo de cinco años (2007-2011) a nivel Europeo, y específicamente en Austria y España. Como la transposición de la complejidad, las raíces sociales y los contextos de la violencia de género en la pareja constituyen una tarea bastante ambigua, el análisis pretende revelar como las iniciativas anti-violentas dan forma a los aspectos sociales de la violencia de género de los hombres contra las mujeres, permiten identificar casos de buenas prácticas y descubren el significado subyacente de los conceptos ideológicos que se encuentra en sus materiales.Si tenemos en cuenta todos los esfuerzos realizados para resolver el generalizado fenómeno social de la violencia contra las mujeres, hemos de considerar que la información, el aumento de la concienciación sobre este tema y el rol de los medios de comunicación constituyen los puntos clave de las más importantes convenciones y declaraciones internacionales para erradicar la violencia contra las mujeres. Desde 1970, los movimientos de mujeres en contra de la violencia, han hecho contribuciones esenciales para que se reconozca que la violencia contra las mujeres constituye una violación de los derechos humanos esenciales, y es uno de los puntales básicos en el campo de la prevención de la violencia y de la toma de conciencia sobre estos aspectos. Por tanto, las respectivas iniciativas que se han ido tomando, incluyendo las que se componen de material audiovisual, son de una gran importancia, más si tenemos en cuenta que para la población europea, la televisión es la fuente más importante de información sobre violencia doméstica contra las mujeres. Además, la misma violencia de género es también la forma más frecuente de violencia contra las mujeres en Europa (European Commission, 2010a). Si miramos las representaciones en los medios de comunicación, podemos observar como diferentes programas y formatos muestran una narratividad visual similar que se basa en clichés e imaginarios sociales sobre la violencia doméstica, mientras que la naturaleza sistemática del problema permanece oculta (Bonilla Campos 2008; Boyle 2005; Geiger 2008; Lopez Diez 2005, Taylor 2009). Consecuentemente, existe una falta de claridad en el discurso mediático audiovisual que no permite la comprensión de la complexidad social de la violencia doméstica de los hombres contra las mujeres. Por lo tanto, la representación visual de la violencia de género es una muestra crucial de la creación discursiva de significado social, que surge de las iniciativas que pretenden acabar con este fenómeno social, así como de una práctica discursiva en curso y bastante cliché en los medios de comunicación. Así, las imágenes difundidas por los movimientos de mujeres en contra de la violencia, constituyen el objeto de estudio principal de esta tesis doctoral. Se analiza el material audiovisual proporcionado por los movimientos anti-violencia con el propósito de conocer las supuestas representaciones alternativas que se forman como una réplica a la mirada ‘malestream’ de los medios de comunicación sobre este tema. Reconociendo la dimensión simbólica, estructural y directa de la violencia de género y partiendo de una perspectiva feminista, se analizarán las contribuciones del discurso del material audiovisual producido por las iniciativas “anti-violencia” en un periodo de cinco años (2007-2011) a nivel Europeo, y específicamente en Austria y España. Como la transposición de la complejidad, las raíces sociales y los contextos de la violencia de género en la pareja constituyen una tarea bastante ambigua, el análisis pretende revelar como las iniciativas anti-violentas dan forma a los aspectos sociales de la violencia de género de los hombres contra las mujeres, permiten identificar casos de buenas prácticas y descubren el significado subyacente de los conceptos ideológicos que se encuentra en sus materiales.
Considering the efforts to resolve the widespread societal phenomenon violence against women, information, awareness raising and the role of the media comprise one of the key targets by the most important conventions and declarations to overcome violence against women. The women’s anti-violence movement since the 1970s has made essential contributions to the recognition of violence against women as a human rights violation, and is a crucial player in the field of violence prevention and awareness raising issues. Therefore the respective initiatives including the audio-visual material is of major importance, even more so as among the Europeans television counts for the most important source of information about domestic violence against women, the most frequent form violence against women (European Commission, 2010). Looking at the media representations in general, we can observe how different programmes and formats are depicting rather similar (visual) narratives of clichéd imagination on intimate partner violence, whereas the systemic nature of the problem mostly remains hidden (Bonilla Campos 2008; Boyle 2005; Geiger 2008; Lopez Diéz 2005; Taylor 2009). Subsequently, there is a lack of clarity within audio-visual media discourse enabling the comprehension of the social complexity of male-to-female intimate partner violence. Therefore, the visual of gender-based violence constitutes a crucial account of discursively created social meaning, emerging from the initiatives to overcome the societal phenomenon as well as from an ongoing and rather clichéd discursive practice in the media. Accordingly, the imagery disseminated by the players of the women’s anti-violence movement constitutes the core object of this PhD thesis, by analysing visual material provided by the anti-violence movement to obtain insights about the supposed alternative representations appropriate for contrasting the ‘malestream’ gaze of the media on the subject. Recognising the direct, structural and symbolic dimensions of gender-based violence and applying a feminist and dispositive perspective, the contributions to visual discourse through the audio-visual material of anti-violence initiatives will be examined in a five years time period from 2007 to 2011 on the European level, as well as on the country level of Austria and Spain. As the transposition of the complexity, the social roots and contexts of intimate partner violence constitutes a rather ambiguous undertaking, the analysis aims to disclose how anti-violence initiatives shape the social accounts of male-to-female partner violence, identify good practice examples and underlying ideological concepts enclosed in their material.Wolf, Birgit. 2013. 'Shaping the visual' of gender-based violence. How visual discourse on intimate partner violence and Europeananti-violence initiatives construct accounts of the social world PhD thesis. Barcelona (Spain): Autonomous University of BarcelonaCopyright and moral rights for this thesis are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author (gender.visual@gmail.com). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given.
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Maggioni, Fabiano. "Estrutura básica da representação visual nas construções discursivas da apresentação do telejornal." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/3429.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThe way news is presented on television news prompted me to find out the logic television follows to converge languages such as verbal and visual in order to report facts in its complex utterances. In this context, this work aims to show the strength of iconicity in the production of senses involved in the presentation of some open television news in Brazil. Therefore, this narrative is regarded as television news utterances, which consists of two dimensions of sense, plastic and semantic, working in conjunction with verbal language. The fragments chosen to analyze the corpus are taken from television news presentation performances, understood as everything that is given in the live studio. The method sought to approach the Spanish theory of image with the French semiology of social discourses. We considered the views of image authors such as Justo Villafañe, Norberto Mínguez, Rudolf Arnheim and Wassily Kandinsky. To understand the discursive semantic instance we approached the thoughts of Diana L. P. de Barros and Patrick Charaudeau. At the end, we made considerations that show the particularity of television news narrative run "live", a time similar to the time of the language designated by Émile Benveniste, and which is established at the time of the utterance. This time ends up influencing the formation of senses of the narrative of television news presentation. Based on how television news works its utterances live, it was possible to detect groups of effects of sense formed from the iconicity of images and molded according to the television news genre. They are effects of truth and reality, centrality, transience, and ubiquity. These senses are primarily made of an iconic scheme, created by image elements, and then they receive a thematic and a figurative structure as well as figurative addition.
O modo como as notícias são apresentadas no telejornal me instigou a procurar saber que lógica a televisão segue para fazer confluir linguagens como a verbal e visual, com o objetivo de relatar fatos, no complexo enunciado televisivo. Dentro deste contexto, este trabalho procura mostrar a força da iconicidade na produção de sentidos envolvidos nas apresentações de alguns telejornais de TV aberta no Brasil. Para tanto, tal narrativa é considerada como enunciado televisivo noticioso composto por duas dimensões de significado, a plástica e a semântica, atuando em conjunção com a linguagem verbal. O recorte do corpus de análise é feito em torno das performances de apresentação do telejornal, compreendido a tudo que é dado no estúdio ao vivo. O método aplicado procurou aproximar a teoria da imagem espanhola com a semiologia dos discursos sociais francesa. Foram considerados pensamentos de autores da imagem como Justo Villafañe, Norberto Mínguez, Rudolf Arnheim e Wassily Kandinsky. Para compreender a instância discursiva semântica foi feita aproximação com os pensamentos de Diana L. P. de Barros e Patrick Charaudeau. Ao fim, foram possíveis considerações que mostram a particularidade da narrativa noticiosa televisiva executada no tempo "ao vivo", um tempo semelhante ao tempo linguístico designado por Émile Benveniste e que é instituído no momento da enunciação. Tal tempo acaba por influenciar a formação de sentidos da narrativa de apresentação do telejornal. Com base na forma como o telejornal trabalha seu enunciado ao vivo, foi possível detectar grupos de efeitos de sentido formados a partir da iconicidade da imagem e moldados ao gênero telejornalístico. São eles os efeitos de verdade e realidade, de centralidade, de transitoriedade e o efeito de ubiquidade. Tais sentidos são constituídos primeiramente por um esquema icônico, elaborado por elementos de imagem, e em seguida recebem estrutura temática e acréscimo figurativo.
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Varga, Kate, and Ronja Cato. "A multimodal critical discourse analysis of Swedish teaching materials for English." Thesis, Malmö universitet, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41075.
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Education in the Swedish school system should aim to assist pupils in the development of fundamental values. This study investigates to what extent different groups of people are represented within two textbooks for English language teaching (ELT), produced in Sweden and commonly used in Swedish schools and how these representations correlate with the values indicated in the curriculum. Additionally, this study explores if textbooks designed for ELT can be adapted and used as a resource in the Arts classroom for multimodal representation analysis. The study used a multimodal critical discourse analysis with a social semiotic approach to address these questions, looking at the textbooks' textual and visual elements. The result is addressed both quantitatively and qualitatively and showed that, while women were shown in active roles, white men were overrepresented in both the visual and textual representations and people of colour of both genders were underrepresented. The results imply that ELT textbooks have some ways to go in order to meet the representation demands that the curriculum sets and that more research needs to address how to more accurately and frequently represent different groups of people within ELT teaching materials.
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Chung, Kin-tim. "The influence of subject-matter knowledge, English proficiency and audio-visual induced schemata on L2 reading comprehension of scientific discourse." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21572495.
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Elggren, Sara. "En kollektiv retorik : Om konst och kvalitet i fanart-communities." Thesis, Södertörn University College, The School of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1592.
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The main purpose of this essay is to study ideas concerning the concept of ”art” within the discourse of the exhibition space that is part of a fanart community. In order to do so I have used a hermeneutical and to some extent structuralistic, discourse analysis. I have examined structure and rhetorics in two established and popular communities, Fanart-Central and deviantART.
My conclusions states that personal ideas regarding artistic value are undermined the joint policies, because of a collective rhetoric somewhat inherent in the community structure.
When a lot of works are being based on internal knowledge of symbolics and historical narratives, this may to some extent have consequences where unfamiliar observers might fail to notice elements of possible significance. Moreover, certain interests in keeping a united front of “quality art” may also affect a general idea immediate to what signifies fanart. By means of for example categorization, censure, and quality control, specific standards of “good art” are framed and conceded within the communities. Trying to sustain specific criteria as emblematic for the entire genre like this seems highly restraining, and also contradicts the essentially liberal principals of fan culture.
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Brooks, Sarah E. "Image Trends in Corporate Environmental Reporting: Bolstering Reputation through Transparency or Widening the “Sustainability Gap”?" Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_theses/96.
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As companies discover the monetary benefits of a positive environmental image, a proliferation of green imaging confounds the public sphere. The consequence becomes the disarticulation of terms like environmental excellence, sustainable development, and minimum environmental harm. Because the oversaturation of greening efforts has elicited public distrust, stakeholders need timely and accurate information regarding environmental claims. As a major vehicle for communicating these efforts, corporate environmental reports (CERs) are laden with colorful and sublime images. This study examines the functionality of images found in CERs from 27 industry leaders, applying Sonja Foss’s tenets of visual rhetorical analysis to identify the nature and function of the images and offer an evaluation based on emergent themes. Because images are increasingly important to corporate transparency, the study concludes with several best practice recommendations to serve as ethical image design strategies and to reflect the ways companies address impactful operations.