Tesi sul tema "Semiotics of images"
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Oyama, Rumiko. "Visual semiotics : a study of images in Japanese advertisements". Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/10019140/.
Testo completoShields, Timothy Brian. "Seething brains : images of madness in the world of Shakespeare's plays". Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390134.
Testo completoLau, Man-chu Sunny, e 劉敏珠. "Postmodernism and semiotics: the tyranny of images of beauty on the female body and postmodern feminist resistance". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950644.
Testo completoLau, Man-chu Sunny. "Postmodernism and semiotics : the tyranny of images of beauty on the female body and postmodern feminist resistance /". [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13787305.
Testo completoHuang, Ying. "CONSTRUCTING THE WEST IN CHINESE MAGAZINE ADVERTISING: A CONTENT AND SEMIOTIC ANALYSIS". OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/343.
Testo completoJoaquim, Marina Guiglielmin de Godoy. "Imagens na comunicação do conhecimento em livros didáticos de química e física: uma análise à luz da semiótica peirceana". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/81/81132/tde-26052017-101455/.
Testo completoThis work aims to contribute to the reflections on the philosophy of Chemistry, those related to the strategies and characteristics used in the communication of their knowledge. As a research object are the images used in the content of discussions that are covered in textbooks of Physics and Chemistry approved by the National Textbook Program 2015 (PNLD - 2015), analyzed in the light of Peirce\'s semiotics. Such images and their context were analyzed from two perspectives: what you want to communicate through the categorization of images of the type of content posted, and as such communication is carried out, using the classification of the proposed signs by Peirce\'s semiotics. Regarding the first point, it was noticed that the images for the Daily Life and Laboratory and Experimentation predominate in both disciplines, especially charts in Physics Books and tables in Chemistry books. Regarding the type of images displayed by the books there is a predominance of Photographs and Drawings, there are more designs in Physics books and more photos in Chemistry books. Analyzing the function of these images in the books, it can be inferred that they are mainly used for exemplification and contextualization of the issues worked as well as representation of the objects used for experimentation. With this use, the images are mostly indexical sin-signs, they represent an existing object. There are, however, images that have more iconic character, since seek to represent and show the behavior of submicroscopic particles. Since this iconicity reflects a posture adopted by the authors of the book, the Chemistry books tend to have more realistic positions that Physics books, as it was observed the presence of the most iconic images representing and \"materialize\" the particles present in these representations.
D'Andreamatteo, Rosane Mendes Silva. "Análise semiótica de publicidade médica em aulas de inglês instrumental". Programa de Pós-Graduação em Letras e Linguística da UFBA, 2006. http://www.repositorio.ufba.br/ri/handle/ri/11412.
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Em busca de uma aplicação prática das estratégias utilizadas no ensino de Inglês Instrumental, este trabalho se propôs a explorar o poder pictórico do texto publicitário, que contempla uma rede de signos visuais e verbais, na atividade de leitura no curso de Medicina. Visou, também, oferecer um checklist sugerido pela pesquisadora para ser utilizado em aulas de inglês instrumental, de forma a servir de coadjuvante para que o aprendiz processe com mais eficiência os textos analisados. Teve como base a Semiótica visual, de Peirce e Barthes; a Análise do Discurso I proposta por Foucault e os Estudos Culturais da imagem de Kress e Van Leeuwen.
Salvador
Lindqvist, Linda. "Views of the Ending of the Cold War : A case study that compares multimodal images in Swedish newspapers and history textbooks". Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77701.
Testo completoHäggblom, Jeanette, e Emma Lindahl. "En bild säger mer än tusen ord : En analys av GQ Magazines omslagsbilder och årskurs 9 elevers tolkning av dem". Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-99322.
Testo completoAlač, Morana. "How brain images reveal cognition an ethnographic study of meaning-making in brain mapping practice /". Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3222050.
Testo completoTitle from first page of PDF file (viewed September 19, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
Wilson, Anna Naomi. "What is, and what might be, learned from images shared during Twitter conversations among professionals?" Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24371.
Testo completoLandgren, Elsa. "Hopp och kunskap : Att kommunicera känslor med bilder". Thesis, Blekinge Tekniska Högskola, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12169.
Testo completoWe live in a society where images are increasingly growing in importance. Important new communication channels are websites on the Internet and social media. A website is often used by companies and organizations to communicate the values of the company or organization. It then becomes important to not only convey facts but also produce the desired sense of emotion. It is not always easy to know how to express oneself in a visual form to convey the feeling you want to emphasize since it is difficult to know how the image affects and guides us as viewers. In my investigation I will take up this issue in order to discuss how to convey emotions over the web using pictures and layout. Specifically, I have chosen in my study to examine how to convey a sense of hope through a cancer organization's website. Previous research on the definition of an image and the interaction between viewer and image is the basis for my investigation. Based on my basic question about conveying hope I have made a discourse analysis of two existing websites. A questionnaire and a group interview have also been carried out in order to see how these websites are perceived by different target groups with regard to the ability to convey the feeling of hope. A comprehensive discussion of the results is reported. The conclusions of the investigation have then been used to design a new prototype website for a similar organization, the Children's Cancer Association. The preliminary version of this website is presented and the specific parts of this website are discussed based on previous literature and the results of the investigation.
Meyer, Renate, Markus Höllerer, Dennis Jancsary e 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.
Testo completoPool, Joey. "Roll, Duck, & Cover! : A collaboratively produced, critical game that generates a discussion around the visual representation of nuclear warfare in media". Thesis, Linnéuniversitetet, Institutionen för design (DE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76429.
Testo completoLeonidas, Bernade. "Black Lives matter : En semiotisk analys av bilden av svarta barn i UNICEF:s och SOS Barnbyar:s reklamkampanjfilmer. En undersökning av hur UNICEF:s och SOS Barnbyar:s reklamkampanjfilm uppfattas av människor med olika etnisk bakgrund". Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22532.
Testo completoPurpose The purpose of this study is to examine the image of black children in UNICEF’s and SOS Children’s Villages campaign films. And as well to find out how UNICEF’s and SOS Children’s Villages campaign films received by differnt people in Sweden and, in which way these advertising films could influence these people. Method A semiotics analysis of moving images have been done in this paper, in a way to examine how black children have been portrayed in those advertising films. And also a structured interview have been done in this paper to investigate the attitude that people in Sweden have towards those moving images that show on those advertising films. The Materials that used for this investigation are, two advertising films with moving images and an interview with a focus group composed of seven people from different ethnics background. Results The results have shown that those moving images using on those advertising films portrayed black children as animals, as barbarians, as aggressive. And the results of the focus group interview have shown that non-white people living in Sweden are angry because those campaigns films using black children in a way that show them as non-human. While white people living in Sweden in the group are angry because not only that these organizations using these children to their own benefits, but they also think that because of these organizations, they will be constantly reminded and seen as racists.
Morris, Sharon Mary. "Shifting eyes : self-representation in words and images, re-reading Freud through the semiotics of C.S. Peirce, with particular reference to the work of poet H.D. and artist Claude Cahun". Thesis, University College London (University of London), 2000. http://discovery.ucl.ac.uk/46810/.
Testo completoMazmanian, Aznive. "La sémiologie de l'image fixe dans les manuels de FLE : Représentations et usage interculturels". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030076.
Testo completoThis search will describe how images in the eight FLE [French as a Foreign Language] textbooks published in France are used, are culturally representative, and are of interest from semiological and pedagogical points of views. These images can be an efficient way to teach the French language and culture to foreign learners. Codes and signs can contain rich messages that will help communication on linguistic, cultural, and intercultural levels. The research for this paper has led to the following ascertainment—most of these images do not respond to the CEFR guidelines for updating foreign language-culture textbooks. Though the texts have evolved, the images have remained the same. They still serve only a secondary pedagogical role—to illustrate and provide information. Most of the time, they are superficial or show only clichés of France. There are exceptions, however. Some images portray contemporary French society. The first section of this paper will present the evolution of teaching methods in the field of FLE, the role of cultural representations within that teaching, the science of semiology and its elements, and the effect and messages that images can produce. The second section will concentrate on the analysis of the images—identifying them as pedagogical tools and discussing their cultural and pedagogical content. Each analysis will include a table of statistics
Ferraz, Thien Spinelli [UNESP]. "Pensamento e criatividade: Uma abordagem à luz da semiótica peirceana". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91751.
Testo completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Nesta dissertação buscaremos discutir em que sentido o desenvolvimento de novas mediações cognitivas possibilita o surgimento de originais campos de exploração da atividade criativa. Em um primeiro momento veremos como perspectivas filosóficas estão articuladas em pesquisas da Cibernética, da Ciência Cognitiva e da Sistêmica. Em seguida, analisaremos a perspectiva epistemológica mecanicista a partir da qual estas ciências, em maior ou menor grau, abordam problemáticas acerca do que constitui o pensamento, a informação e a criação. Refletiremos em que medida o mecanicismo é limitado em sua abordagem das relações mantidas entre pensamento, criação e símbolo, de modo que a Semiótica de C. S. Peirce pode nos oferecer uma abordagem mais consistente das correlações entre símbolos, signos e pensamentos. Procuraremos discutir em que medida a Semiótica peirceana, construída a partir de sua Fenomenologia, concebe planos de intensidade de qualidades, relações e mediações presentes em dimensões da experiência. Investigaremos os argumentos de Peirce quanto à impossibilidade de redução do pensamento e da criatividade a procedimentos mecânicos, pois haveria aí a desqualificação de uma genuína manifestação do acaso na experiência de um pensamento. Assim, ao problematizarmos os quali-signos como campos de manifestação da criatividade, apontaremos para o papel do ícone na exploração da corporeidade de signos que emergem das interfaces cognitivas de sistemas artificiais. Então, refletiremos sobre a Cibercultura enquanto um paradigma de nossa condição sociocultural contemporânea, passando a investigar nela manifestações da atividade criativa através das interfaces estabelecidas entre sistemas semióticos heterogêneos. Por fim, questionaremos de que forma as imagens sintéticas expressam explorações criativas de dimensões semióticas nas quais...
In this thesis we shall discuss the way in which the development of new cognitive mediations allows novel fields of exploration of creative activity to emerge. In a first step, we shall see how philosophical perspectives are articulated in research concerning Cybernetics, Cognitive Science and Systems theory. We will explore the nature of the mechanicist perspective with which these sciences generally address difficulties concerning conceptions of what comprises thought, information and creation. We shall discuss the extent to which mechanicism is limited in its consideration of relations between thought, creation and symbol, and the means by which the semiotics of C. S. Peirce can offer a more consistent means to address the correlations between symbols, signs and thoughts. We’ll examine how Peircean Semiotics, developed from its Phenomenology, conceives levels of intensity of qualities, relations and mediations existent in the dimensions of experience. We shall present Peirce’s arguments concerning the impossibility of reducing thought and creativity to mechanical processes, because implicit would be the disqualification of genuine manifestation of chance in the experience of a thought. Hence, questioning quali-signs as fields of manifestation of creativity, we’ll point towards the role of the icon in exploration of dimensions of corporality and signs that emerge from the cognitive interfaces of artificial systems. We shall then address Cyberculture as a paradigm of our contemporary socio-cultural condition, investigating in it manifestations of creative activity at the junctions of heterogeneous semiotic systems. In the end, we shall question to what extent synthesized images may be appropriate as expressions of creative exploration of semiotic dimensions in which thoughts create transits and expansions of their own connections
Neves, Camila Portella. "Televisão e deficiência visual: o sonoro na produção de imagens mentais". Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4487.
Testo completoConselho Nacional de Desenvolvimento Científico e Tecnológico
The object of this work is the visuality formed by the blind people when watching television. The objective of this research is to analyze the sound as a resource to forming mental images to understand and generate knowledge of the world passed through what is on television for the visually impaired. As specific objectives, intends to examine the TV as a way of understanding the world and as a means of information for the visually impaired, also noting the extent to which the sound replaces the image in the apprehension of which is transmitted by TV. It also aims to analyze to what extent the visually impaired can reproduce the world through sound and identify what kind of visuality is produced by the visually impaired while watching TV. In TV programming, there is a perfect union of image and sound, playing a central role in Brazil in the knowledge of individuals. However, this unique feature in the union of the TV picture and sound, while it can reach a higher percentage of fans, also limits access to those who do not have the feature imagery. This is the case of the blind, which receive only the character of the sound that is transmitted. In view of this, this research has the following problem: being the eyes a sense of excellence in the mass mediation of images, how the blind people experience mental images while watching television? It starts with the hypothesis that the mental visuality produced by blind people can lead to understanding what is televised. In such case, it is believed that through the perception and discrimination of sound, the blind people can produce mental images. Another hypothesis is that, through a polisensitive discrimination, the visually impaired are developing another kind of learning supported by a system of analogies. In view of this, the fourth hypothesis is that through the sound the blind people can elaborate images by expansion of cognitive operations. It is a qualitative research which uses the abductive-inductive method, and for its development, we intend to conduct an empirical illustration with people with visual impairments. For the development of this dissertation will be discussed about the representation as a sign (Charles Sanders Peirce); about the mental representations produced by the blind (Antonio Damasio), entering the enclosure of Cognitive Sciences; on perception (Lucia Santaella), and how the sound is seen by the blind people as a way of thinking in the absence of the image, passing in front of it, by the concept of compensation (Semionovitch Lev Vygotsky)
O objeto do presente trabalho é a visualidade formada pelo deficiente visual ao assistir televisão. O objetivo da pesquisa é analisar o som como formador de imagens mentais no sentido de compreender e gerar um conhecimento do mundo através do que é repassado pela televisão aos deficientes visuais. Como objetivos específicos, pretende-se verificar o papel da TV na compreensão do mundo e como meio de informação para os deficientes visuais, constatando também em que medida o som substitui a imagem na apreensão do que é repassado pela TV. Pretende-se ainda analisar em que medida o deficiente visual consegue reproduzir o mundo através do som e identificar que tipo de visualidade produzem os deficientes visuais ao assistirem TV. Na programação da TV, observa-se o perfeito casamento entre a imagem e o som, desempenhando no Brasil um papel central no conhecimento dos indivíduos. Contudo, essa característica singular da TV na união entre imagem e som, ao mesmo tempo em que consegue atingir um maior percentual de adeptos, também limita àqueles que não possuem acesso do recurso imagético. É o caso dos deficientes visuais, os quais apenas recebem o caráter sonoro do que é transmitido. Em vista disto, a presente pesquisa parte do seguinte problema: considerando os olhos um sentido por excelência na mediação massiva das imagens, como os deficientes visuais experimentam imagens mentais ao assistirem televisão? Parte-se das hipóteses de que a visualidade mental produzida pelo deficiente visual pode levar a compreender o que é transmitido pela televisão. Assim, acredita-se que através da percepção e discriminação do som, o cego consegue elaborar imagens mentais. Outra hipótese é de que, através de uma discriminação polissensível, o deficiente desenvolve outro tipo de aprendizagem apoiada no sistema de analogias. A quarta hipótese é de que através do som o cego consegue elaborar imagens pela expansão de operações cognitivas. Trata-se de uma pesquisa qualitativa cujo método utilizado é o abdutivo-indutivo, e para o seu desenvolvimento, pretende-se realizar uma exemplificação empírica junto às pessoas com deficiência visual. Assim, discute-se acerca da representação como relação sígnica (Charles Sanders Peirce); sobre as representações mentais elaboradas pelos cegos (Antônio Damásio), entrando no cerco das Ciências Cognitivas; sobre a percepção (Lúcia Santaella), passando pela questão da maneira em que o som é utilizado pelos deficientes visuais como modo de pensar na ausência da imagem, abordando, diante disto, o conceito de compensação (Lev Semionovitch Vigotski)
Peigney, Salomé. "Représenter l’homme ordinaire. Histoire et sémiologie d’un commun du voir sur un commun aux hommes". Thesis, Paris 2, 2018. http://www.theses.fr/2018PA020068/document.
Testo completoRepresenting the ordinary man is, in this work, considering that a common look is built on a human common. Ordinary comes from the word ordo, « arranged by order ». This is not about shapes or forms but more about a view. This work is not about the ordinary man but about a view that can see an ordinary man. This is a political view, that told what has to be seen in a society. It is a violence, and a comfort of viewing at the same time : a representation that imposes what is a man, definitely, but also, comfort of views that gather around a figure that they recognize and share.Representing the ordinary man, in Les Caractères by La Bruyère, in the Physiologies published in the XIX century press, in anatomical and physiological pictures, in Les Français peints par eux-mêmes, on an IKEA catalog cover or in a people magazine pages, is addressing a representation to a public that recognizes something that comes from a common view and a common living, that this public learned to recognize in a society. Recognizing something ordinary, and something ordinary about men, means that individuals can be identified the same way. This is not a gender notion, but a formula that leads to the « common seeing » of a society. We searched how to be able to see an ordinary man : our work remains in semiotics of seeing that asks how a society builds categories of seeing that permits to whose who share them to build a common seeing
Banjongsawat, Sorthong. "La Thaïlande, pays aux deux visages : Approches sémiologiques d’une identité culturelle ambiguë à travers le miroir de la presse et autres discours publics". Thesis, Paris 5, 2012. http://www.theses.fr/2012PA05H013/document.
Testo completoThis study aims to analyze the ambiguous image of contemporary Thai culture through different points of view. Our purpose is to establish an interpretation of Thai cultural identity from images. Hence, an analysis has been conducted, based on heterogeneous objects of study: photography and press cartoons created by western authors. Two complementary approaches, which are semiology and semiotics, have been elaborated. A semiological approach is used to study visual signs (iconic, plastic and linguistic) and symbolic expressions whereas a semiotic approach is applied to identify the meanings, the structural analysis and the basic isotopies. The selected images allow us to explore some Thai cultural representations such as new aspects of Buddhism, transformation in traditional practices, influence of foreign cultures, new symbolic expressions... This research also reveals the coexistence of incongruous elements in Thai cultural representation and reflects the image of the contemporary evolution of the Thai identity with its confused, undefinable and ambiguous aspects. Thailand, in the eyes of foreign observers, is a country searching for its identity, oscillating between tradition and modernity, Buddhism and capitalism, spiritual and material, identity and alterity, substance and appearance. Thai social and cultural life is presented as a dynamic in continuous transformation, which is the result of the acculturation in the globalized world and the tendency for syncretism of Thai people
Chung, Sae Won. "External Images of the EU: Comparative Analysis of EU Representations in Three Major South Korean Newspapers and Their Internet Editions". Thesis, University of Canterbury. National Centre for Research on Europe, 2013. http://hdl.handle.net/10092/8921.
Testo completoChiachiri, Filho Antonio Roberto. "O sabor das imagens". Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5092.
Testo completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
In the context of communication and culture, this study is focused on the resources used by photographers specialized in gastronomic photography. The so mentioned resources are responsible for the effects of synesthetic suggestion produced in the message recipient, to the extent of exciting their appetite at times more strongly than a real dish would do. The aim of this work is to show how a flat and bidimentional sign can be able to do this. We are aware that, in this domain, photographic scenario actually concerns a number of simulating resources and powers capable of insinuating delights, triggering and even intensifying psychophysical effects, such as whetting the appetite and stimulating the senses, also causing in an interpreter physical reactions (biophysical, neurosensory, behavioral, etc), such as salivating or imaginably tasting the unique flavor of a certain food according to their previous gustatory background. Based on interviews carried out with professionals working in the production and preparation of gastronomic photography, on analyses of three photographic reproductions from press media specialized in gastronomy and also on bibliographical studies, we believe that this research, carried out under the perspective of Charles Sanders Peirce s semiotics, based on an analysis method taken from Lucia Santaella s work and studies on synesthesia phenomenon, can contribute to the comprehension of a still unexplored aspect of the art of photographic communication, namely, trying to understand how the language of this type of sign, through which gustatory pleasures are evoked by visual message, is structured and works
No contexto da comunicação e cultura, esta pesquisa está voltada para os recursos utilizados pelos fotógrafos especializados na fotografia gastronômica, recursos estes responsáveis pelos efeitos de sugestão sinestésica produzidos no receptor, a ponto de excitar-lhe o apetite por vezes de modo mais intenso do que um prato o faria. Pretendemos mostrar como um signo chapado, bidimensional, pode dar conta disso. Sabemos que o cenário fotográfico, neste domínio, na realidade, envolve uma série de recursos e de poderes simuladores capazes de insinuar delícias, engatilhar e mesmo intensificar efeitos psicofísicos como o despertar do apetite, aguçar os sentidos desencadeando num intérprete, também, reações fisiológicas (biofísicas, neurossensoriais, comportamentais etc), tais como salivar ou empreender imaginativamente o sabor peculiar daquele alimento segundo seu prévio repertório sígnico gustativo. Por meio de entrevistas realizadas com profissionais de produção e elaboração fotográfica gastronômica, análises de três reproduções fotográficas de mídias impressas especializadas em gastronomia e estudos bibliográficos, cremos que esta pesquisa, elaborada à luz da semiótica de Charles Sanders Peirce, apoiada em uma metodologia de análise extraída da obra de Lucia Santaella e em estudos sobre o fenômeno da sinestesia, poderá contribuir para a compreensão de um aspecto ainda pouco explorado da arte da comunicação fotográfica, a saber, o de tentar perceber como se estrutura e age a linguagem deste tipo de signo, por meio do qual os prazeres gustativos são evocados pela mensagem visual
Main, Michael G. "How am I not myself? a semiotic analysis of images". Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/465.
Testo completoB.A.
Bachelors
Arts and Humanities
Humanities
Rasheed, Zeeshan. "Video categorization using semantics and semiotics". Doctoral diss., University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/RTD/id/2888.
Testo completoThere is a great need to automatically segment, categorize, and annotate video data, and to develop efficient tools for browsing and searching. We believe that the categorization of videos can be achieved by exploring the concepts and meanings of the videos. This task requires bridging the gap between low-level content and high-level concepts (or semantics). Once a relationship is established between the low-level computable features of the video and its semantics, .the user would be able to navigate through videos through the use of concepts and ideas (for example, a user could extract only those scenes in an action film that actually contain fights) rat her than sequentially browsing the whole video. However, this relationship must follow the norms of human perception and abide by the rules that are most often followed by the creators (directors) of these videos. These rules are called film grammar in video production literature. Like any natural language, this grammar has several dialects, but it has been acknowledged to be universal. Therefore, the knowledge of film grammar can be exploited effectively for the understanding of films. To interpret an idea using the grammar, we need to first understand the symbols, as in natural languages, and second, understand the rules of combination of these symbols to represent concepts. In order to develop algorithms that exploit this film grammar, it is necessary to relate the symbols of the grammar to computable video features.
Ph.D.
Doctorate;
School of Electrical Engineering and Computer Science
Engineering and Computer Science
Electrical Engineering and Computer Science
120 p.
xix, 120 leaves, bound : ill., (some col.) ; 28 cm.
Yoon, JungWon. "Improving Recall of Browsing Sets in Image Retrieval from a Semiotics Perspective". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5237/.
Testo completoFERREIRA, Anália Adriana da Silva. "Comunicação visual no livro ilustrado: palavra, imagem e design contando histórias". Universidade Federal de Campina Grande, 2017. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/925.
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Esta pesquisa tem por objetivo investigar a comunicação visual e a relação palavraimagem mediada pelo design em livros ilustrados, para isso, selecionou-se o acervo da Fundação Nacional do Livro Infantil e Juvenil, FNLIJ, especificamente a categoria Criança. Realizou-se estudo panorâmico de caráter histórico-cultural do livro infantil no Brasil, observando temáticas, concepções gráficas, autores, ilustradores e a narrativa visual com o intuito de compreender o objeto e identificar a participação do design gráfico no mesmo; levantamento e discussão sobre as classificações do livro infantil, as necessidades de leitura de imagens e os aspectos do design na organização visual também foram contemplados nesta dissertação. Os livros selecionados passaram por análise sintática e semântica para melhor observar as articulações entre as narrativas visual e verbal. Para análise sintática utiliza-se as teorias da Gestalt como norteamento, observando formas, cores, tipografia e composição. Para análise semântica o uso da Semiótica, identificando ícones, índices e suas simbologias. A metodologia seguiu as etapas propostas pelo Método Feldman de Leitura de Imagens e precisou ser adaptado para o livro ilustrado com aplicação das teorias mencionadas. Como resultado destaca-se a diversidade de concepções na narrativa visual e as experimentações que o design possibilita ao livro. Espera-se por meio deste trabalho contribuir para a ampliação de estudos do design no livro infantil, fomentar a discussão sobre leitura de imagens e as práticas de projetos de comunicação para criança.
This research aims to investigate visual communication in picturebooks and the text-image relation mediated by the design. Therefore the collection of the FNLIJ, Brazilian version of International Board on Books for Young People – IBBY, specifically the Child category was selected. In order to understand the object and identify the participation of graphic design in it, a panoramic historical-cultural study of the children's book in Brazil was carried out, emphasizing its thematic, graphic conceptions, authors, illustrators and visual narrative. This study also comprises a selection and discussion about the child book classifications, the need to foment for reading images, and the aspects of design in the visual organization of the information. The selected books were analyzed syntactically and semantically to better observe the articulations between the visual and verbal narratives. The syntactic analysis followed Gestalt theories as a guide, observing forms, colors, typography and composition. The semantic analysis was conducted through semiotics theories to identify icons, indexes and their symbologies. The methodology was an adaptation of the steps proposed by the Feldman Method of Reading Images redirecting to the Picturebook with application of the mentioned theories. As a result, this research highlights the diversity of composition of the visual narrative and the experimentation that the design makes possible to the book. Moreover, it seeks to contribute to the growth of design studies in children's books, to stimulate the discussion about reading images and for the practices of communication projects for children.
Carlzon, Paula, e Sanna Olsson. "Matfoto : Tillämpning av semiotik, visuell social semiotik och estetiska begrep". Thesis, Örebro universitet, Restaurang- och hotellhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-33313.
Testo completoB-uppsatser
Galbiatti, Maria Odete. ""A gente se vê por aqui": a captura do sujeito através das imagens na televisão". Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4724.
Testo completoThis paper aims on thinking over the slogan power of Globo TV network, considering a semiotics perspective and also the psychoanalytical listening. The purpose is to show that TV works as an alienating discourse in constructing the experience of the psycho reality replacing the living actions with the passive contemplation of images. Thus entailing a whole lifestyle towed by the market as well as by an esthetic pattern orchestrated by the communication technology. Through a semiotic view the TV and the public mix themselves up because when in front of the TV set we are captured by images which dominate the appearance of our body, our ego, our imagination. Such images which multiply infinitely make us lose our sight of the esthetic value of life. The message from TV determines the social ideals and heads the audience wishes. Excessive TV however swells the imaginary and it may be viewed as a cultural symptom.
Este estudo visa refletir sobre o poder dos slogans da Rede Globo, lidos segundo uma perspectiva semiótica, e escutados psicanaliticamente. O objetivo é mostrar que a televisão funciona como um discurso alienante na construção da experiência da realidade psíquica, substituindo o vivido pela contemplação passiva de imagens; implicando todo um estilo de vida, a reboque do mercado e da estetização orquestrada pela tecnologia comunicacional. Semioticamente, a televisão e o público terminam confundindo-se, pois na frente dela, estamos capturados por imagens que dominam a aparência do nosso corpo, nosso Eu, nossa imaginação; multiplicando-se infinitamente, essas imagens nos fazem perder de vista o valor estético da vida. Sua mensagem determina os ideais sociais, e norteia os desejos da audiência. Seus excessos, porém, inflacionam o imaginário, e isto pode ser lido como um sintoma da cultura.
Caswell, Heather C. "Captured images: a semiotic analysis of early 20th Century American schools". Diss., Kansas State University, 2012. http://hdl.handle.net/2097/14056.
Testo completoCurriculum and Instruction
F. Todd Goodson
This study investigates visual representation of three perspectives: the context of school, the pedagogy, and the teacher-student relationships when viewing photographs taken during the first half of the 20th Century of American Schools. Grounded in the understanding of visual culture, this image-based study utilized photographs as a rich source of data. The photographs collected for this study were taken between 1900 -1959 in American schools and were categorized by the Library of Congress as still images of classrooms in the United States. The Library of Congress collection was utilized to provide reliable categorized and documented images of schooling. The collection included 1,812 photographs archived in the Library of Congress Prints and Photographs collections specifically labeled as Classrooms United States; the non-digitized Frances Benjamin Johnston Photograph Collection of United States Indian School; and, Look Magazine Teacher Issue Charlotte Brooks negatives collection. A three-layered analysis utilized an initial layer of analysis placing each of the photographs into four predetermined categories: Time Period (1900-1950’s), Urban-Rural, Wealth-Poverty, Active-Passive environment. The placement of each photograph into the above continua provided evidence of the balance of visual elements within the data collection. Seven themes emerged through an open-coding process within the second layer of analysis when each photograph was coded using a specific perspective: context, pedagogy, and teacher-student relationship. As themes were extracted, a third layer of analysis utilized a semiotic approach to identifying over 20 cultural icons representational of schooling within the photograph. Implications for further research are provided.
Pirgova, Luba. "Images of electricity : perceptions of loss and semiotic communication of risk". Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/97588/.
Testo completoSantos, Marina Vieira. "Imagens e Ciências no Ensino Fundamental II: um estudo à luz da semiótica peirceana". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/81/81132/tde-30032017-153653/.
Testo completoWhereas in the elementary school that chemical nature phenomena are treated for the first time and the images can assist the learning process and enable the construction of meanings for knowledge, this paper explores the actions and behaviors of a science teacher for their classes to the 9th grade of elementary school II, in order to explore the use of pictorial resources proposed for it. So, were part of this assessment questions such as what types of images were used in the development of the discipline? What the teacher aspired to use them? In what context are inserted? How was the communication process about the image? This research is characterized as a case study and was developed in a municipal school in the city of Salto - SP, where classes were monitored and recorded in a period of six months, a period in which they worked the chemical content. Each image used by the teacher in the classroom was considered a sign and explored from the theory of Charles Sanders Peirce semiotics. Consider it as a sign is to attribute it a load of materialization, in the other words, the object is materialized in the representation, enabling the transition between immaterial domain and the visual and understanding of how may or may not contribute to the construction of the chemical content considering also the speech of the teacher about the sign. The images were classified according to modes of relationship in which the sign is constituted (about its nature) and about its object. These relationships belong to called trichotomies established by Peirce, resulting in several classes, as qualisign iconic, sinsign iconic, sinsign indicial, legisign iconic, legisign indicial and legisign symbolic. These reviews and ratings added to teacher\'s arguments and buildings presented during the research showed a strongly realistic posture while reading the images.
Jonasson, Daniel, e Lise-Lott Humble. "Från Jalla! Jalla! till Snabba Cash : En semiotisk och retorisk kvalitativ analys av affischer från 2000-talet". Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-20159.
Testo completoModigh, Stefan. "Makt i bild : Hur makt kan manifesteras i bild". Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12364.
Testo completoThis study illustrates how power can be manifested in the image. It is based on theories of power, mainly postmodern power analysis according to Michel Foucault and his interpreters. Semiotic analysis is used to illustrate the manifestations of power in the visual material that mainly consists of photographs taken by the author. The results are presented in a display where the images are shown along with an analysis of each image. Techniques such as perspective, composition and finish, in order to change the connotation of an image, are being demonstrated. Different perspectives of power and power techniques are distinguished and a special focus is put on the less obvious manifestations of power and the hidden expressions of power, for example inattention, obstruction, reward and monitoring. It is found that expressions of power are not absolute and indisputable and that the connotation depends on the viewer's culture sphere, previous experience and knowledge. A discussion is being held about the interpretation of the power theoretical and semiotic concepts and how wide the definitions can be for the analysis to be useful and meaningful.
Souza, Karina Aparecida de Freitas Dias de. "Estratégias de comunicação em química como índices epistemológicos: análise semiótica das ilustrações presentes em livros didáticos ao longo do século XX". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/46/46136/tde-08052013-095035/.
Testo completoThis work starts from four assumptions which stand as the background for the research aims and methodological strategies: (i) in the process of construction of scientific knowledge, the access to the reality of Nature is necessarily mediated by interactions that we establish with it; (ii) the interpretation of the results of such interactions leads to theoretical and scientific constructs; (iii) such constructs are not identical to reality itself, since they are possible interpretations, constrained by the performed interactions; (iv) an explicit account of the relationships between reality - interaction - interpretation - representation is essential to a science education that intends to be emancipatory, since it allows to transcend the boundaries of content-centered teaching. Such relationships need special attention from chemical educators, given the essential role played by models and representations in the processes of construction and communication of chemical knowledge. An extensive literature search revealed various attempts to describe chemical activity and chemistry teaching that do not satisfactorily address the relationships between reality, interaction, interpretation and representation. Since such relationships are of semiotic nature, the present research aimed at: reconceptualizing the different attempts to describe the chemists\' activity and the teaching of chemistry, in the light of the philosophy of Charles Sanders Peirce; characterizing, within the developed theoretical framework, the strategies employed in General Chemistry textbooks to communicate chemical knowledge; and establishing correlations between such strategies, the historical evolution of chemical knowledge and the different conceptions about chemistry. Peirce\'s theory showed to be useful for elucidating philosophical problems identified in descriptions of chemical activity and in chemistry teaching. Realizing that experimental evidences act as signs of an object (reality), to which we can only have partial access, contributes to the understanding of scientific activity as an ever-evolving process. From this perspective, 31 textbooks were analyzed and it was possible to identify different approaches to chemical knowledge: chemistry as an applied and practical science (early twentieth century), chemistry as the science of the microscopically invisible (emphasis on principles, from the 1950s) and, currently, chemistry as the science of interfaces. Passing from one approach to the other involved changes in the strategies for representing chemical content: illustrations of experiments and apparatus were almost totally neglected in favor of the representations of atoms and molecules, whose \"reality\" was built along the century with increasingly elaborated graphics and semiotic strategies such as increasing iconicity. The 1980s brought a huge number of illustrations, distributed among directly inaccessible phenomena and applications of chemistry in our daily life. The discursive strategies used throughout the century, as well as their implications for the teaching of chemistry discussed in this thesis, suggest that Peirce\'s semiotics is fertile and promising for research in chemical education.
Stanley, Keith R. "Word and image : Doré/Poe : an enquiry into the role of word and image in the late Romantic period, with specific interest in the participation of Gustave Doré, Edgar Allan Poe and the influence of the gothic revival". Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/22446.
Testo completoThis study is an investigation into the relationship between word and image, with specific interest into the work of Edgar Allan Poe and Gustave Doré. The twenty six illustrations that Doré executed for Poe's The Raven form the basis of the study. The intention is, through analysis of the illustration, to identify the interplay between word and image and also investigate the influence of late Romantic Gothicism. Part One examines the position and roles of verbal/visual enquiry through illustration and text. A survey of theoretical concepts defining illustration is made. A brief examination of nineteenth century perspectives of illustration, including a survey of technical theories follows. The modern theory of semiotics and its bearing on visual investigation is examined. A model for applying these theories is detailed. Part Two is an in-depth examination of all twenty six of Doré's illustrations of The Raven. An introduction to the illustrations precedes the analysis. Each illustration is detailed individually, with information on the engraver, content and poetical position being given at the start. Numbered inserts are employed to relay detailed information on more general topics relates to the poem and illustrations. Part Three is the conclusion to the work. A brief examination of Doré's involvement with the Gothic is made. Notes on Doré's illustrations for The Raven and their reception and a survey of other illustrators of The Raven, particularly Eduard Manet follows. The comparison between Manet's and Doré's illustrations is investigated. The concluding remarks note how the relationship of word and image between Doré and Poe uncovers new information about both the poem and the illustrations. The importance of Romanticism and the Gothic is also noted. The conclusion states how new light on Doré's work makes these twenty six rarely considered illustrations more noteworthy. The study ends with a series of appendices, the text of The Raven by Poe, the twenty six illustrations by Doré and a bibliography.
Fidouh, Dalel. "Communicative semiotics in everyday life : cultural criticism : the image in the 21st century". Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/13679.
Testo completoCosta, Rafael Wagner dos Santos. "A constituição semiótica da imagem-documento". Universidade do Vale do Rio dos Sinos, 2013. http://www.repositorio.jesuita.org.br/handle/UNISINOS/3884.
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Esta tese tem como finalidade a caracterização do estatuto semiótico da imagemdocumento à luz dos pensamentos de Gilles Deleuze e Charles Sanders Peirce. Ao se retomar a influência peirceana sobre o pensamento cinematográfico de Deleuze – em geral associado ao bergsonismo – empreendeu-se uma revisão crítica das imagens-movimento e das imagenstempo sob o viés semiótico e se descobriu um novo tipo de imagem derivada da experiência cinematográfica contemporânea e que introduz problemáticas bem específicas para o estudo do cinema: a imagem-documento, foco desta tese. A imagem-documento é aqui concebida como imagem-tempo, mais precisamente como a face documental da imagem-cristal, cuja matéria expressiva é constituída pelas figuras da fabulação, da potência do falso, da alteridade do personagem, do agente provocador, do personagem intercessor, do jogo cênico, do transe, do deslocamento e da montagem nuclear. Nesse cinema de imagem-documento, ao invés de se identificarem os índices de uma realidade já vivida (como nos documentários clássicos), elas se comportam como flechas do tempo (em séries) que apontam para o vir a ser do mundo, inseparáveis das ideias de ação, intervenção e invenção, possibilitadas pelas imagens de fabulação. Além da demonstração das relações teóricas entre Peirce e Deleuze – que evidenciam as potencialidades desse encontro –, a imagem-documento foi abordada ensaisticamente. Nos ensaios, procurou-se estabelecer de que forma tal imagem funciona em cenas dos filmes Iracema, uma transa amazônica (1974), Jogo de cena (2007) e Di Glauber (1977), propostos como experiências brasileiras da imagem-documento. Esta tese, assim, procura revelar os modos como os pensamentos de Peirce e Deleuze se agenciam para dar lugar a uma nova imagem de pensamento cuja matéria de expressão são as imagens cinematográficas. Por fim, esta pesquisa também contribui para demonstrar que a prática da escrita deleuzeana concebida pelo viés peirceano pode trazer relevantes contribuições para ambas as teorias.
This thesis aims to characterize the semiotic state of the document-image in the light of Gilles Deleuze and Charles Sanders Peirce’s thoughts. Resuming the influence of Peirce in Deleuze’s cinematic thought – generally associated with Bergson – allowed a critical review about the movement-images and the time-images in the light of semiotics, and discovered a new type of image derived from the contemporary cinematic experience that introduces specific problematic for the study of cinema: the document-image, the core of the thesis. The image-document is thought as a time-image, more precisely, as a documentary face of the image-crystal, whose expressive matter consists in the figures of fabulation, the power of the false, the otherness of the character, the agent provocateur, the Character intercessor, the scenic game, the trance, the displacement and the nuclear assembly. In this cinema of document-image, instead of identifying the index of a reality already experienced (as in the classic documentaries), it behaves like a arrows of time (in series) that point to become of the world, inseparable from ideas of action, intervention and invention, made possible by the images of fabulation. In addition to demonstrate the theoretical relations between Peirce and Deleuze – where highlight the potential of this encounter –, the document-image was approached through essays. In these essays we intended to establish how the image-document works in scenes of the films Iracema, uma transa amazônica (1974), Jogo de cena (2007) and Di Glauber (1977), proposed as Brazilian experiences of image-document. This thesis, therefore, intends to reveal the ways in which thoughts of Peirce and Deleuze can be the way for a new image of thought whose matter of expression are the cinematic images. Finally, this research contributes to demonstrate that the practice of deleuzean writing conceived in the light of Peirce can bring important contributions to both theories.
Göransson, Alice, e Ellinor Eke-Göransson. "En drakes bildval : En semiotisk bildanalys av Aftonbladets bildval på webben och i den tryckta tidningen". Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79824.
Testo completoChang, Han. "Semiotic analysis of Hillary Clitnon's [sic] photographic image in Newsweek magazine". [Gainesville, Fla.] : University of Florida, 2008. http://purl.fcla.edu/fcla/etd/UFE0022714.
Testo completoThongrom, Pimpika. "The effect of interpreted filmic signs on destination image through a consideration of semiotics". Thesis, Oxford Brookes University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.616305.
Testo completoScavone, Fernando Pasquale Rocco. "Fotografia: fragmentação e condensação do tempo na interface homem-máquina". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-13082009-154246/.
Testo completoThe object of this study is to examine the time interactions between the photographer and the camera through the photographic process. Based on empirical observations and referring to critical analyses, it is structured in three different conceptual layers: syntactic, semiotic and psychic. It aims to understand the implications that technical transformations determine in the medium visual language.
Larsson, Amanda. "Horan och madonnan : En kvalitativ analys över kvinnans gestaltning i moderna livsstilsmagasins personporträtt". Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26409.
Testo completoVan, Meerbergen Sara. "Nederländska bilderböcker blir svenska : En multimodal översättningsanalys". Doctoral thesis, Stockholms universitet, Institutionen för baltiska språk, finska och tyska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42561.
Testo completoFessien-Bonnal, Ingrid Barbara. "Gestualité et regards dans les peintures d'Orazio Gentileschi : une approche sémiotique". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0156.
Testo completoDenounced on various levels by early modern commentaries and contemporary studies, narrative reticence apprears as an abiding feature of the discourses concerning Orazio Gentileschi's paintings. This persistence, beyond historical context in which it was received, indicates theoretical actuality of the question. Specially, in seven canvases produced in the first third of the Seventeenth Century, gestuality and depicted gazes, traditionnal drivers of narrative structuring, seem to operate on a different level than the ones from historia. In addition, the strong deictic value linked to these drivers, imposing an off-picture in the narrative framework, brings us to examine the effective dimension of this external but contiguous space. This compositions, because of their disruptions, present themselves to questioning objects of their autoreferential mechanisms. More than a display of historia, painting thinks about itself. Fisrt we focus on the way the gestuality is represented, withdrawing from content register, and how it takes part in the process of meaning. Second, refering to designated objects and nevertheless situated out of the material limits of the painting, we try to establish how the deictic apparatus works on semantic continuity from the topological contiguity. Third, through the prism of the dynamic which pairs depicted and exercised gazes, we consider the activity of a system which organizes and structures the multiple fields of the representation
Blair, Paul S. "Figura rerum : 'the pattern of the glory' : the theological contributions of Charles Williams". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6364.
Testo completoSpecht, Patrícia Pivoto. "Mídia, emoção e cultura gaúcha: a construção da imagem do jornalista Paulo Sant Ana no Rio Grande do Sul". Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5143.
Testo completoThe new post-modern Zeitgeist of the early 21st century has imagery, impermanence and fragmentation as its hallmarks and requires mediatic relations that include the cultivation of sensory and affective possibilities. The journalist Paulo Sant Ana, 69, native of the state of Rio Grande do Sul and object of the present master s degree dissertation, fits well into this context inasmuch as he follows strategies that have the complexity required by this new reality. Since the 1970s Sant Ana has been active in three communication media of Rio Grande do Sul: the Zero Hora newspaper, Rádio Gaúcha and RBS TV Porto Alegre, which are part of the Rede Brasil Sul de Comunicação, or RBS (Southern Brazil Communication Network), the largest and most powerful media monopoly of the southern region and one of the most important in Brazil. Since September 2007 Sant Ana has had his own blog at www.zerohora.com. With the help of theatrical performances in which he uses jokes, irony and metaphors, he has built over the course of 37 years a style of journalism all his own, something that comes close to a creative post-modernism directly linked to daily life and experiences. Within this sphere, the most important of the two hypotheses of this study, which attempts to understand how the construct of the image of a mediatic phenomenon took place, is that Sant Ana s success can be at least partly explained by his unique and singular way of being and presenting himself as a mediatic subject, who, by means of his doings and manner of presenting himself, creates an identity associated with trustworthiness, honesty, authenticity and sensibility. Based on the premise that every discourse has the hallmarks (styles, beliefs and competencies) of its enunciator, this Master s Degree Dissertation has analyzed the facts (newsworthy or not) that most strongly influenced the definition of this journalist s identity. The other and not less significant hypothesis is that Sant Ana embodies features related to the character of the natives of Rio Grande do Sul, such as courage, pride and magnanimity, that stir the imagination of the natives of this state. To this perspective were added vital reflections on post-modernity, columns, news and regionalism (Harvey, Sodré, Maffesoli, Bauman, Vicchiatti, Chaparro, Oliven, Debord and others), besides the analysis of Sant Ana s discourse undertaken with the instruments of discursive semiotics (Greimas, Oliveira, Landowski, Pessoa de Barros, Fiorin, Fechini and others). The texts that were analyzed and that with, within the semiotic perspective, are not necessarily verbal were chosen from online searches, interviews, analyses of recorded radio and TV programs, as well as bibliographical and newspaper research
O novo espírito do tempo deste início de século 21, dito pós-moderno, marcado pela imagem, pelo efêmero e pelo fragmentário, pede relações midiáticas que contemplem o cultivo das possibilidades sensoriais e afetivas. O jornalista gaúcho Paulo Sant Ana, 69 anos, objeto da presente Dissertação de Mestrado, insere-se nesse contexto ao apostar em estratégias dotadas da complexidade que esse novo real pressupõe. Sant Ana atua desde os anos 70 em três mídias gaúchas: Jornal Zero Hora, Rádio Gaúcha e RBS TV Porto Alegre, que integram a Rede Brasil Sul de Comunicação (RBS), maior e mais poderoso monopólio de mídia da região sul e um dos mais significativos do país. Desde setembro de 2007, o jornalista comanda um blog no site www.zerohora.com. Por meio de performances teatrais, nas quais faz uso de gracejos, ironias e metáforas, ele construiu, ao longo de 37 anos, uma proposta de jornalismo de estilo diferenciado, próximo de um pós-modernismo criativo diretamente ligado ao vivido e ao cotidiano. Nesse âmbito, a principal das duas hipóteses do presente estudo, o qual buscou compreender como ocorreu a construção da imagem de um fenômeno midiático, é a de que o sucesso de Sant Ana se explica, ao menos em parte, pelo jeito único e peculiar de ser e de expor-se como sujeito midiático, que constrói, por seu fazer e por seus modos de aparecer, uma identidade ligada ao credível, ao honesto, ao autêntico e ao sensível. Partindo da premissa de que todo discurso carrega marcas (estilos, crenças e competências) de seu enunciador, a Dissertação de Mestrado analisou os fatos (noticiosos ou não) de maior impacto na definição da identidade do jornalista no Rio Grande do Sul. A outra hipótese, não menos importante, é a de que Sant Ana encarna características ligadas ao gauchismo, como a coragem, a soberba e a altivez, que mexem com o imaginário do morador do Estado. Em coadunação com essa perspectiva, foram imprescindíveis reflexões acerca da pós-modernidade, da crônica, da notícia e do regionalismo (Harvey, Sodré, Maffesoli, Bauman, Vicchiatti, Chaparro, Oliven, Debord e outros), além de uma análise do discurso produzido por Sant Ana, por meio do instrumental da semiótica discursiva (Greimas, Oliveira, Landowski, Pessoa de Barros, Fiorin, Fechini e outros). Os textos analisados que, na perspectiva semiótica, não são necessariamente verbais foram selecionados a partir de buscas online, aplicação de entrevistas, análise de gravações de programas de televisão e de rádio, e pesquisas bibliográficas e em exemplares de jornais
Nordell, Patrik. "Universalspråket : Deleuzes semiotik och åtbördsspråket". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35402.
Testo completoFu, Linda, e n/a. "VISUAL COMMUNICATION ACROSS CULTURES A Semiotic Study of the Interpretation of Western Brand Images in China". University of Canberra. Communication, 2000. http://erl.canberra.edu.au./public/adt-AUC20090605.155440.
Testo completoPettersson, Emma. "Människosonens beständighet : Bildanalys av två surrealistiska konstverk". Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24846.
Testo completoThe purpose of this work is based on literature data and analysis describing the Salvador Dali and René Magritte's artistic working method, and accordingly make its own visual interpretation. The method I used is out literature, bildandalys and artistic depictions.Salvador Dali's method of memory resistance based on the boundlessness and fantasy, with distinct semiotic elements. You as a viewer decides what is seen, you want to see the paintings simple and just experience what is painted, or want the viewer to sink into a world of innovative, blurred boundaries and beyond all rules. René Magritte's method is based in the Son of man on natural and credible move, his painting appear to be real solid with a touch of fantasy, with sparse features of semiotics.