Rozprawy doktorskie: „Visual semiotics”

1

Paglamidis, Konstantinos. "Semiotics of Humanitarian Photography". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22424.

Pełny tekst źródła

Streszczenie:

Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fund-raising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fund-raising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development.

Style APA, Harvard, Vancouver, ISO itp.

2

Fan, Jiang-Ping Brasseur Lee E. "Semiotics and advertising". Normal, Ill. : Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3115178.

Pełny tekst źródła

Streszczenie:

Thesis (Ph. D.)--Illinois State University, 2003.
Title from title page screen, viewed Jan. 11, 2005. Dissertation Committee: Lee Brasseur (chair), James Kalmbach, Gerald Savage. Includes bibliographical references (leaves 211-218) and abstract. Also available in print.

Style APA, Harvard, Vancouver, ISO itp.

3

Lakanen, Mariia. "Branded Windows : The Semiotics of a Window Display". Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10719.

Pełny tekst źródła

Streszczenie:

The objective of this study was to analyze the visual communication of fashion brand identity through the concept of window displays. Window displays are often categorized as an aspect of a much larger concept of visual merchandising that should be seen as a crucial part of the entire marketing communications. Although the concept of window displays is not new, their effect on the overall brand image creation remains relatively unexplored. The interpretation of communication in a visual form is complex in nature, and this research approaches the matter from a semiotic perspective. The approach was selected due to its capability to explore deeper meanings behind visual objects. In this study, window display is understood as a crucial part of the sign system of a fashion store. Window display is commonly regarded as the starting point of the entire shopping experience, and therefore in the lack of previous research, it is a logical starting point for this study. The analytical framework of the study follows the thee metafunctions of semiotic modes as discussed in the Theory of the Grammar of Visual Design by Kress and van Leeuwen (2006). The analytical framework is then applied to analyze six different window displays produced by the same fashion brand. Findings of the research are discussed in terms of the three metafunctions of ideational, interpersonal and textual, and the purpose is to increase the knowledge of how window displays can be used to depict different relations between brand, people, places and things. In terms of brand identity communication, the most important contribution is to understand the complex relationship that is formed between the window (the brand) and its viewer (the customer). As a result, this research finds that the window displays are loaded with multiple visual cues all of which intend to serve the same purpose of brand identity communication. Clothing and accessories are the most salient elements used and they can be understood as the embodiment of the brand identity. Images of models and mannequins are used to address the viewers and create a specific relationship with them. The less salient elements in the window displays are used to support the message the brand is conveying through the display.

Style APA, Harvard, Vancouver, ISO itp.

4

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/.

Pełny tekst źródła

Streszczenie:

The thesis begins an exploration of the way in which Japanese visual semiotics works. In this it focuses on the formal representations of visual elements: visual syntax. Specifically, this thesis examines the way in which visual representations are realisations of three types of semiotic metafunctions: the Ideational, Textual and Interpersonal. In order to gain a clear idea about Japanese visual semiotics, I compare them with British counterparts in a relatively minor way. There is some consideration of Japanese and British cultural value systems as revealed through an analysis of the visual. It is widely accepted that language is rule-governed, and that the rules of this system are closely related to the social and cultural environment in which they are produced. This is the basis of most work in sociolinguistics, of a very wide variety. The same assumption, however, is not normally made of other semiotic modes such as the visual. This study uses advertisements as the data; and it is through that data that the issue of visual semiotics is considered. Advertisements are examples par excellence of the connection of cultural values and visual semiotics; they are also a rich source for the study of visual communication, and are widely available and comparable across Japanese and British cultures. To some small extent it shows how similarly and differently they are manifested in Japanese and British examples. The findings of the thesis point to quite specific organizations of visual representations in Japanese culture, and to differences between the two cultures. Such differences give rise to different kinds of reading with different meanings, and are therefore of great significance in a cross-cultural semiotic environment.

Style APA, Harvard, Vancouver, ISO itp.

5

Royce, Terry. "Visual-verbal intersemiotic complementarity in the Economist magazine". Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301898.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

6

Sundell, Alexandra, i Ida Karlsson. "Färgkonnotationer i spel : Hur val av färg påverkar hur vi upplever en spelkaraktär". Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-25187.

Pełny tekst źródła

Streszczenie:

The purpose of this bachelor thesis is to identify the relationship between color and semiotics and how a person’s opinon, regarding a game character’s different characteristics, can be affected by the use of various colors. Prior to this study people were asked, through an online survey, to write down words that they associated with different colors. The colors were then divided into four different groups depending on whether they had been associated with positive-strong words, positive-weak words, negative-strong words or negative-weak words. In order to further shed light on the effect of colors, the four palettes, consisting of the colors associated with the different words, were then used separately to give color to two characters: a man and a woman. People were then asked to describe what kind of characteristics they felt that the different color versions of the characters portrayed and if they believed that there was a link between colors and how we view different characters’ personalities. The results showed that all of the respondents believed that such link existed and showed different reactions towards the characters’ images depending on what colors were used while creating them. The majority associated an intensive shade of red with powerful and slightly negative personality traits while bright pastel colors such as light green, pink and sky blue had a tendency to make the characters appear more naive and childish. The results also showed that darker, dusty shades of grey and brown gave the characters a more negative and weak expression.

Style APA, Harvard, Vancouver, ISO itp.

7

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.

Pełny tekst źródła

Streszczenie:

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.

Style APA, Harvard, Vancouver, ISO itp.

8

Norwood, Jennifer Lynn. "A semiotic analysis of biotechnology and food safety photographs". Texas A&M University, 2005. http://hdl.handle.net/1969.1/3353.

Pełny tekst źródła

Streszczenie:

This study evaluated photographs used in Time, Newsweek, and U.S. News and World Report in stories about biotechnology and food safety issues from the years 2000 and 2001. This study implemented a semiotic methodology to determine if the messages conveyed by the photographs positively or negatively communicated agricultural issues. This research found that the news magazines had a balanced number of positive and negative photographs. Data indicated that many of the photographs involved similar subjects and, therefore, could be promoting stereotypes. This research also examined the technical methods used by photographers and found that the majority of the photographs were taken with very similar camera settings. This study also found that magazines use a large number of staged shots as opposed to a more documentary style. This staging indicates that photographers have control in the messages communicated to the viewer of the photograph.

Style APA, Harvard, Vancouver, ISO itp.

9

au, m. muller@murdoch edu, i Martina Müller. "A Semiotic Investigation of the Digital: What Lies Beyond the Pixel". Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080717.92700.

Pełny tekst źródła

Streszczenie:

This dissertation explores the implications of new photographic and computer technologies that offer the transduction of modalities. The fundamental argument, here, is that such technologies change the process of sense-making resulting in a new asymmetry that informs the visual language of the creative work. I argue that the processes of language analysis can assist us in the interpretation of multimodal texts and that a digital illustration can be analysed via the theoretical framework built from the first linguistic concepts such as those to be found in the texts of Plato, Aristotle, Augustine and Locke. A semiotic method applied in the context of digital artwork, and developed from the linguistic-semiotic stand-point, is well suited for an examination of the intermodal relations (the relations between layers in a multi-layered image file). By examining the layered structures of my images I demonstrate the evident similarity between the disconnection of the components of the linguistic sign on the one hand and the visual sign on the other hand. The analysis of a digital image, especially created for this purpose, is expanded by an investigation that offers a partial reading from an insiders point of view that involves an image being analysed on the conceptual level. This involves the examination of the primary internal relations between the layers of the image, and on the level of expression, the examination of the primary external relations between the layers and the narrative of the image. In its deployment the semiotic method I use investigates the existence and the conditions of a space in which the individual readings from the perspective of outsider and insider might be conceptualized and presents a partial reading derived from an outsiders interpretation of the same image. After comparing both readings I arrive at the conclusion that the different texts modalities have an impact on the degree of the sign components disconnection. My conclusion, then, is that an outsider who cannot view the image in its multimodal form assigns sign components in a higher degree of disconnection than an insider who has access to the intermodal relations of the image file.

Style APA, Harvard, Vancouver, ISO itp.

10

Minkley, Hannah Smith. "Photographing other selves: collecting, collections and collaborative visual identity". Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/12669.

Pełny tekst źródła

Streszczenie:

This study is situated in a social documentary photography context, and is concerned to explore whether the collaborative interaction between photographer, subject (as collector) and material object (as collection) might enable a practice that presents a more mutual and subject-centred visual identity emerge. In particular, photographers Jim Goldberg and Gideon Mendel have focused more on the subject themselves, using collaborative processes such as photo-voice and photo elicitation, as well as the use of peoples’ handwritten captions on photographic prints themselves. Claudia Mitchell’s overview of visual methodologies is drawn on, together with Ken Plummer’s Documents of Life 2 (2001) and Gillian Rose’s Visual Methodologies (2001) to extend on these possibilities of conducting collaborative visual research.The practical component of this study focuses on personal collections and follows a number of theorists, including Susan Pearce, and John Elsner and Roger Cardinal. It follows Pearce’s identification of three major modes of collecting, and suggests that collections are essentially narratives of the self, and reveal experiences and expressions of personal desire. By drawing on these approaches and the various ways the twelve collectors were photographed, as well as implementing collaborative research processes (handwritten text, archival photographs and the re-staging of the collections), the study confirms Pearce’s three primary modes of collecting, and acknowledges that they are often interlinked or overlap one another. The study further found that a more subject voiced visual identity did indeed become apparent through the collaborative methods applied and discussed. The collaborative research equally demonstrated that these narratives of identity are not singular, but rather narratives of multiple, personal identities of the self.

Style APA, Harvard, Vancouver, ISO itp.

11

Sargeant, Amy. "Semiotics of disillusionment: Protesting and Reframing Australia's political spectacle through détournement". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206454/1/Amy_Sargeant_Thesis.pdf.

Pełny tekst źródła

Streszczenie:

This practice-led research project explores and expresses my disillusionment with the dysfunctions of the political establishment in Australia. This is achieved by reframing the visual elements of political spectacle through the installation of video, audio and sculpture, deployed in public and gallery settings. The research is enacted through a Rancièrian lens and uses a practice-led methodology, deploying the Situationist method of détournement to de-stabilise points of symbolic reference appropriated from Australian politics.

Style APA, Harvard, Vancouver, ISO itp.

12

Meyer, Renate, Markus Höllerer, Dennis Jancsary i 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.

Pełny tekst źródła

Streszczenie:

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)

Style APA, Harvard, Vancouver, ISO itp.

13

Lenz, Kent Alan. "The Semiotics, Practical Application, and Assessment of the Modalities". Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1398773919.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

14

Debarry, Olivia Samantha. "The interpretation of visual cues on billboards in urban and periurban areas : a semiotic analysis". Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2446.

Pełny tekst źródła

Streszczenie:

Thesis (MTech (Graphic Design))--Cape Peninsula University of Technology, 2016.
In the South African advertising industry, blame is often cast on the designer for a failed campaign. However, human interactions are multi-faceted and deserve further exploration, particularly if the designer is expected to be socially responsible. If this is the case, one has to consider society as a whole if potentially life-saving or socially transformative advertising campaigns are going to be impactful. This study focuses on a specific public awareness campaign related to HIV/Aids education, the loveLife campaign, and how its billboards were interpreted. This study employs a qualitative research design and semiotic analysis with student participants from schools in Cape Town, South Africa, to investigate how the target audience understands and interprets campaign billboards.

Style APA, Harvard, Vancouver, ISO itp.

15

Gabriel, Signe. "Visuelle metaforer i Mammas Hår - brugen af visuel metafor i kommunikation af komplekse emner til børn". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21501.

Pełny tekst źródła

Streszczenie:

Opgaven tager udgangspunkt i en undersøgelse af, hvordan illustrator Svein Nyhus i billedbogen Mammas Hår, skrevet af Gro Dahle i 2007, benytter sig af visuelle metaforer til at kommunikere bogens depressionstema til børn. Formålet er at finde ud af, på hvilken måde visuelle metaforer kan bruges som kommunikationsværktøj af visuelle kommunikatører generelt. Som baggrund for undersøgelsen ligger teori omkring visuel retorik, metaforer, samt udviklingspsykologi og kognition. Ud fra denne teoretiske baggrund er opstillet en tese om brugen af metafor i kommunikationen af komplekse emner. Gennem såvel en indholdsanalyse som en semiotisk analyse af illustrationerne i Mammas Hår, samt en efterfølgende sammenligning af analyseresultaterne med tesen, fremgår det, at visuelle metaforer både kan fungere enkeltvis og interagere indbyrdes, og at visuel metafor både kan bruges til at introducere nye, ukendte emner, samt til at fremhæve visse aspekter af et emne. Endeligt lægges der op til en diskussion omkring den visuelle kommunikatørs ansvar samt om forholdet mellem teori og praksis.
This essay is based on an investigation of illustrator Svein Nyhus’ use of visual metaphors in the children’s picture book Mammas Hår, written by Gro Dahle in 2007, in communicating the theme of depression to children. The purpose is to find out in which ways visual metaphor can be used as a communication tool for visual communicators in general. The essay starts with an introduction to visual rhetoric, metaphor as well as developmental and cognition theories. From this theoretical basis, a thesis on the use of metaphor in the communication of complex concepts is presented. Through a content analysis and a semiotic analysis of the illustrations in Mammas Hår, and a subsequent comparison of the analysis results with the thesis, it is found that visual metaphor can work both individually as well as through reciprocal interaction, and that visual metaphor can be used both to introduce new, unknown concepts as well as to highlight certain aspects of a concept. Finally, a discussion about the responsibility of the visual communicator and the relationship between theory and practice is introduced.

Style APA, Harvard, Vancouver, ISO itp.

16

Marner, Anders. "Burkkänslan : surrealism i Christer Strömholms fotografi : en undersökning med semiotisk metod". Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-236.

Pełny tekst źródła

Streszczenie:

This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization. In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.

Style APA, Harvard, Vancouver, ISO itp.

17

Chang, Li-Wen. "Investigating note-taking in consecutive interpreting : using the concept of visual grammar". Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/investigating-notetaking-in-consecutive-interpreting--using-the-concept-of-visual-grammar(51a04db9-f880-45cf-9976-b6cd1cfffb14).html.

Pełny tekst źródła

Streszczenie:

Interpreting studies has so far tended to concentrate on simultaneous interpreting over the consecutive mode. Note-taking – an integral part of consecutive interpreting – has therefore received very little scholarly attention. As an indispensable tool in consecutive interpreting, note-taking plays an important role in supporting the interpreter’s memory. This study argues, however, that the interpreter's notes should not be viewed merely as a memory storage tool, but as a third visual language with its own logic and meaning-making practices that need interpreting. The way in which interpreters read their notes is explored here from the perspective of Social Semiotics for two reasons. Firstly, Social Semiotics conceptualises signs as meaning-making resources which are realized in specific communicative contexts to convey specific communicative intentions – unlike previous approaches to note-taking, that have tended to categorise signs as static constituents of relatively finite sign codes. Secondly, Social Semiotics not only accounts for how written language is used in notes, but also how the pictorial component of communication is encoded and interpreted through interpreter’s notes. The interpreter, as a viewer, has to make use of semiotic resources deployed in the notes in order to reconstruct the information given by the speaker and to produce the target speech for the audience. Therefore, the interpreters’ note-reading stage, based on the interaction between signs, can be conceptualised by reference to the concept of visual grammar. This study draws on visual grammar (Kress and van Leeuwen 2006) to analyse interpreter’s notes with a view to gaining a better understanding of how linguistic and visual semiotic resources are deployed in the process of note-taking. Insight into interpreters’ meaning-making practices and note-taking patterns is gained through an experimental study of the notes produced by nine qualified, practising conference interpreters, during a consecutive interpreting task from English into Chinese. The patterns identified in my data set are then compared with the established prescriptive approaches to note-taking training – which are typically based on relatively stable correspondences between note-taking signs/symbols and their meaning. The analysis focuses on certain elements of the source speech (concepts that can be noted down through the use of vectors, geometrical shapes, specific classificational structures, margin, and salience) as reflected in the notes. The way in which interpreters read their notes involves the interaction between two core modes, such as image and language, and a range of sub-modes, such as vectors, geometrical shapes, composition, framing, salience and calligraphy. The results of the analysis indicate that the way in which interpreters arrange the contents of their notes reflects the depth of the information processing effort required by the note-taking process. The findings suggest that the narrative structure in notes seems to assist interpreters in retrieving information at a micro, lexical level, whereas the visual structure would appear to assist interpreters in retrieving information at a macro, contextual level, e.g. in representing the hierarchies of information value, constructing the structure of rendition, and showing the importance of specific signs.

Style APA, Harvard, Vancouver, ISO itp.

18

Campanhole, Sidney Gomes. "Vejo logo simbolizo! Uma abordagem semiótica da percepção da linguagem visual". Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4849.

Pełny tekst źródła

Streszczenie:

Made available in DSpace on 2016-04-26T18:15:59Z (GMT). No. of bitstreams: 1 COS - Sidney Gomes Campanhole.pdf: 2113874 bytes, checksum: 74290ea52035863af303ec2f847e1d1e (MD5) Previous issue date: 2006-10-11
Secretaria da Educação do Estado de São Paulo
The present work has as its objective the study of the perceptive apprehensions of visual language, which in this case is the one systematized in the classroom. Starting from the epistemology of the Peircean Semiotics, one proposes to review the discussion between innatists and empiricists on perception, which from Philosophy extends to Psychology in the 20th century. It places the source of systematized learning in the classroom and takes perception as tangible matter in the language produced. The perceptive development perspectives implicit in the evolution of the Visual Arts and children s drawing are analyzed synthetically for verification of congruence points. The profile regarding school praxis, observed as language, allows verifying its accommodation in the area of Art education and submission to non-verbal language classifications. The study seeks to question the innate question, the gift, that the paths of school praxis and the cultural environment restrict visual language. It proposes to subsidize future discussions on qualitative relations in the phenomenon of Communication, from a more qualitative apprehension of its language. Given the sign-perception focus, and consequently, language-cognition, one seeks to compare the idiosyncratic visions of visual language acquisition. For this purpose, it dialogues with the theory of multiple intelligences that reinforces the interaction between medium and genetic determinism. The main hypothesis is the displacement of existing learning activities, or in case they are not existent, then those to be developed from the predominance of the third category must dislocate to the second category, that is, from apprehension of legi-signs for the sin-sign. The visual language to be learned required the definition of the aspects of syntax and morphology, given that for such a dialogue was articulated between the principles of ordination of perceptive structures proposed by Gestalt and its variations. The experimental character of the research fell into groups of students of two segments of the school system, whose verifications did not establish relation between them, taking as variable the before-after of each group. One submitted to the apprehension of morphology and the other to syntax. The conclusion based on the research states that perception occurs at the moment and in a mediated way. As long as the first one might produce reorganizations of the sign at the duration of the process of keeping , the second one tends to generate associating processes that, in fact, make the relations with the object analised distant from its existence, limitating the visual language learning
O presente trabalho tem como objeto as apreensões perceptivas da linguagem visual, no caso, aquela que é sistematizada nos bancos escolares. Partindo de conceitos da Semiótica Peirciana, propõe-se rever a discussão sobre a percepção entre inatistas e empíricistas, que, da Filosofia, se estendem até a Psicologia do século XX. Situada a fonte de aprendizagem sistematizada nos bancos escolares, toma-se a percepção como matéria tangível na linguagem produzida. Analisam-se sinteticamente as perspectivas de desenvolvimento perceptivo implícito na evolução das Artes Visuais e no desenho infantil para verificação de pontos de congruência. O recorte sobre as práxis escolares, observadas como linguagem, permite verificar a sua acomodação na área da Arte educação e sua submissão a classificações de linguagem não verbal. O estudo procura questionar a questão inata, o dom, a que os percursos da práxis escolar e o ambiente cultural restringem a linguagem visual. A pesquisa pretende subsidiar futuras discussões sobre relações qualitativas no fe nômeno da Comunicação Visual, a partir de apreensão mais qualitativa de sua linguagem. Dado o enfoque signo-percepção e, conseqüentemente, linguagem-cognição, procura-se contrapô- los às visões idiossincráticas da aquisição da linguagem visual. Para isso o trabalho dialoga com a teoria das inteligências múltiplas que reforça a interação entre meio e determinismo genético. A hipótese central é que as atividades de aprendizagem existentes, sob a predominância da terceira categoria, devem se deslocar para a segunda categoria, ou seja, da apreensão dos legisignos para o sinsigno. A linguagem visual a ser aprendida exigiu a definição dos aspectos da sintaxe e da morfologia, sendo que, para tanto, se articulou um diálogo entre os princípios de ordenação das estruturas perceptivas propostas pela Gestalt e suas variantes. A parte experimental e empírica da pesquisa incidiu em grupos de discentes de dois segmentos da rede de ensino, tomando como variável o antes-depois de cada grupo. Um submetido à apreensão da mo rfologia e outro da sintaxe. Através desta pesquisa foi concluído que a percepção ocorre de modo imediato e mediado. Enquanto o primeiro pode gerar reorganizações do signo no percurso da apreensão, o segundo tende a gerar assimilações que distanciam da relação existencial com o objeto, limitando a aprendizagem da linguagem visual

Style APA, Harvard, Vancouver, ISO itp.

19

Stankovic, Aurora. "Romantiska komedier på DVD-omslag". Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28248.

Pełny tekst źródła

Streszczenie:

The purpose of this thesis is to analyze DVD covers for the genre romantic comedy from the 2000s as a way to obtain patterns and codes provided by the genre. The theoretical framework consists of previous research that analyzed various posters, theories about semiotics, genre, and visual rhetoric. These theories will help answer the main question and help with the analysis. The objects for observation are ten DVD covers from the genre romantic comedy and a qualitative content analysis is used for this thesis. The movies are from the US and they are all high in Box Office. Box Office stands for how many tickets were sold and how much money a film has earned. The use of numbers from Box Office shows that the movie had a successful marketing prior coming out as DVD. The analysis focuses also on movies from the year 2003 – 2012 as a way to get a ten years gap and also get the contemporary movies. The results show that there are codes and patterns provided from various DVD covers. Visual expressions as clothing, angles, perspectives, postures, facial expressions and colors say a lot about how the genre is visualized. It's also important for these visual expressions to work together – as they tell a story about the relationships and the characters, and also what the movie is going to be about. The main conclusion is that the woman is usually the one who is in focus and she is the active one. This doesn't necessary mean that the woman is in a higher position when it comes to the society or that she'll always have the upper hand in the relationship, but she is the one that has the upper hand right now. It's also clear that the DVD covers show when the couples aren't happily ever after.
Syftet med uppsatsen är att analysera DVD-omslag för genren romantisk komedi från 2000-talet för att få fram mönster och koder som ges från genren. Det teoretiska ramverket består av tidigare forskning som analyserat olika affischer - samt teorier om semiotik, genre och visuell retorik. Dessa teorier används för att svara på frågeställningen och för att hjälpa till vid analysen. En kvalitativ innehållsanalys har analyserat tio olika DVD-omslag för genren romantisk komedi. Filmerna som analyserats är från USA och anses som höga inom Box Office. Begreppet Box Office står för hur många biljetter som har sålts och hur mycket pengar en film tjänat in. Användingen av siffor från Box Office visar att filmen hade en lyckad marknadsföring innan den kom ut på DVD, vilket gör att den används för denna analys. Analysen fokuserar sig också bara på filmer från år 2003 – 2012 då man får ett mellanrum på tio år och filmerna blir samtida. Resultatet från den kvalitativa metoden visar att det finns koder och mönster som ges från olika DVD-omslag. Visuella uttryck som kläder, vinklar, perspektiv, kroppshållning, ansiktsuttryck och färger påverkar mycket hur ett DVD-omslag uppfattas och säger mycket om hur genren visualiserats. Det är också viktigt att dessa visuella uttryck arbetar ihop då de tillsammans berättar något om relationerna, karaktärerna och vad filmen kommer att handla om. Slutsatsen visade att kvinnan oftast är den som är i fokus och aktiv. Detta betyder inte nödvändigt att kvinnan är i en högre position i samhället eller att hon kommer alltid att ha övertaget i relationen, men att hon styr just nu. Det är också tydligt att DVD-omslagen inte visar när paren är lyckliga i alla sina dagar.

Style APA, Harvard, Vancouver, ISO itp.

20

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.

Pełny tekst źródła

Streszczenie:

This study compares how newspaper yearbooks and current upper secondary school history textbooks represent the Cold War between the years 1985-1991. As earlier research, this multimodal study focuses discourses and images. In addition I examine the usefulness of mediatization as illuminating tool in this context. For these aims, I have constructed a three-step model, in which concepts from mediatization theory are operationalized, and combined with Theo Van Leeuwen’s social semiotic theory. This thesis compares 356 representations from two yearbooks to 16 ones from three textbooks. At present, historical images are neither addressed nor regulated in the national curriculum, yet both educators and researchers within the field of education address them. The contribution of this paper is hence to shed light on the complexity of images, which shows how their meanings, including degree of mediatization, depend on context. Thereby I add a new aspect to multimodal literacy research.

Style APA, Harvard, Vancouver, ISO itp.

21

Chiachiri, Filho Antonio Roberto. "O sabor das imagens". Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5092.

Pełny tekst źródła

Streszczenie:

Made available in DSpace on 2016-04-26T18:17:18Z (GMT). No. of bitstreams: 1 Antonio Roberto Chiachiri Filho.pdf: 25092050 bytes, checksum: dfeddcfab2dd5391319985ff762374b6 (MD5) Previous issue date: 2008-06-27
Coordenação 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

Style APA, Harvard, Vancouver, ISO itp.

22

Jancsary, Dennis, Markus Höllerer i 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.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

23

Pondian, Juliana di Fiori. "A forma da palavra: poesia visual sânscrita, grega e latina". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-31102011-132738/.

Pełny tekst źródła

Streszczenie:

Em nossos dias, considera-se a articulação entre expressão e conteúdo no poema um dos traços mais importantes da criação poética. Desde a eclosão dos movimentos estéticos de vanguarda do século XX, que procuraram romper com os discursos tradicionais e as formas canônicas do verso, a tensão palavra/som/imagem tem sido um vetor construtivo por excelência da criação poética, sendo a poesia visual uma das formas de arte que mais difusão apresentou nas últimas décadas. A presente pesquisa procura demonstrar que, mais que um traço característico da criação poética moderna, a tensão entre expressão e conteúdo e o recurso à visualização constituem procedimentos estéticos presentes em diversas tradições literárias da Antiguidade, tanto no Ocidente quanto no Oriente. Assim, este trabalho busca recuperar esses textos originais a partir do estudo de um conjunto de aproximadamente trinta poemas, pertencentes às tradições literárias sânscrita (o citrakvya), grega (o technopaignion) e latina (o carmen figuratum). O estudo consistiu em, de um lado, traduzir os poemas para a língua portuguesa, acompanhados de comentários críticos, a fim de compor uma antologia de poesia visual. E, de outro, analisar, com base na linguística estrutural e na teoria semiótica francesa, os mecanismos próprios de configuração de sentido dos poemas, a partir de questões clássicas acerca desse tipo de prática poética como as oposições entre arbitrariedade vs. motivação; oralidade vs. escrita; e temporalidade vs. espacialidade. Finalmente, aplicando as bases teóricas discutidas ao corpus estudado, procuramos estabelecer uma tipologia segundo a qual os poemas possam ser classificados.
At the present time, one of the most important traits of a poetic creation is the relationship between expression and content in the poem. Starting from the outbreak of the avant-garde aesthetic movements of the 20th century, which sought to break with the traditional discourses and with the canonical forms of verse, the word/sound/image tension has been a constructive vector par excellence of the poetic creation, and visual poetry has been one of the most widespread forms of art in recent decades. This research aims to show that, rather than being a trait of the modern poetic creation, the tension between content and expression and the use of visualization is part of the aesthetic procedures also present in the literary traditions of antiquity, both in the West and the East. This work seeks to recover these original texts from the study of a group of about thirty poems, belonging to the Sanskrit (citrakvya), Greek (technopaignion) and Latin (carmen figuratum) literary traditions. On the one hand, the goal of the study is the translation of the poems into Portuguese, accompanied by critical comments in order to compose an anthology of visual poetry, and on the other hand, based on structural linguistics and French semiotics to analyze the proper configuration of meaning mechanisms of poems from the classic questions about this type of poetic practice as the oppositions between arbitrary vs. motivation; orality vs. writing, and temporality vs. spatiality. Finally, applying the discussed theoretical basis to the studied corpus, we sought to establish a typology to which these poems could be classified.

Style APA, Harvard, Vancouver, ISO itp.

24

Utstrand, Matti. "En bild säger mer än klara ord : En undersökning av visuella och narrativa komponenter i myndighetstext". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26347.

Pełny tekst źródła

Streszczenie:

According to law all Swedish authorities must express themselves using correct, plain and comprehensible language whenever they communicate with the citizens in order to make it easy to understand what needs to be known to participate in the Swedish democratic society. I would like to explore if there are more tools than the language that could be used to make their communication easier to comprehend, in this case images and stories. In this essay I will investigate the relationship between the written words and the visual components – images and illustrations – in brochures from Swedish authorities. I will also try to identify possible narratives in the brochures, and examine the functions of these narratives. To do this study I use a semiotic analysis including denotation and connotation and narrative analysis according to Burke and Greimas. The result showed that most of the images are used to anchor, confirm, the written text while some seek to guide our interpretations of the text or to add a new dimension to it. Only one of my three analyzed brochures contains a clear example of a narrative, while the others contain narrative element. My most important finding is that the narratives are mostly hidden within the images and therefore get dual functions– both as anchors of the text and as a narrative

Style APA, Harvard, Vancouver, ISO itp.

25

Jardim, Marília Hernandes. "O corset na moda ocidental: um estudo sociossemiótico sobre a constrição do torso feminino do século XVIII ao XXI". Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4658.

Pełny tekst źródła

Streszczenie:

Made available in DSpace on 2016-04-26T18:14:44Z (GMT). No. of bitstreams: 1 Marilia Hernandes Jardim.pdf: 54375032 bytes, checksum: 754a2bce65f2359960e8f42da67f083a (MD5) Previous issue date: 2014-12-03
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study investigates the feminine torso constriction obtained through the corset use, which presents a fundamental role on the feminine body conformation, and a pronounced function of transforming the social logic. Also, the silhouette configurations by him realized significantly alter the interaction between constricted bodies and other subjects. It is possible to postulate thus that the corset is an interactive subject, whose role is part of the social logic shaping, and not its reflex. From this point, the studied problem is the identification of the relation between the conformation of the silhouette and a consequent social interaction determination, arisen from the apprehension modes that surface from the body plastic endowed by the garment. Far from constituting a historical fashion problem, the use of constrictive lingerie present as a hodiernal topic, especially on the West, where significant efforts are devoted on the development of shaping objects, consumed by women from all ethnicities and social backgrounds. In order to understand the meanings that emerge from this complex and risky interaction between corset and body, it is necessary to seek the phenomenon origins on 18thcentury western fashion, when the corset use as an undergarment began. From this use, we purpose the identification of emblematic moments of such practice, as well as the ruptures on its continuity, designing to recognize, in those fractures, the specific roles assumed by corset and body, to categorize the transits between corset use continuity and discontinuity. For such, the study call on an extensive research corpus, formed by corset, crinoline and gown images collected from museum collections, as well as virtual stores lingerie photographs and images that can help on reconstructing the studied body tendencies, as advertising and painting reproductions. In the light of Landowski's socio-semiotic, Greimas's semiotic theory and Floch's and Oliveira's visual semiotics, we investigated the uses and apparel configurations, isolating the relations of complementarity between the roles played by the actors corset and body, which underlies the dominance of the first as body's addresser, as well as other relations between those two roles, which reveal a body leadership, important former of fashion and social surroundings passages
Esta pesquisa investiga a constrição do torso feminino praticada pelo uso do corset, que apresenta um papel fundamental na conformação do corpo feminino e uma marcada função na transformação da lógica social, uma vez que as configurações de corpo por ele realizadas alteram significativamente a interação entre os corpos constritos e os demais sujeitos formadores deste entorno social. É possível postular que o corset pode ser abordado como um sujeito da interação, cujo papel aparece como parte da formação das lógicas sociais, e não como um reflexo destes contextos. A partir daí, o problema abordado é a identificação da relação entre a conformação da silhueta e uma consequente determinação da interação social, advinda dos modos de apreensão que emergem da plástica conferida ao corpo pelo traje. Longe de constituir uma problemática pertinente ao estudo da moda de época, o uso de lingeries constritoras apresenta-se como um temário extremamente atual, sobretudo no Ocidente, onde grandes esforços são empregados pela indústria na produção de objetos constritivos, difundidos entre mulheres de todas as etnias e classes sociais. Para entender os sentidos que emergem desta complexa e arriscada interação entre corset e corpo, se faz necessária a busca das origens deste fenômeno na moda ocidental do século XVIII, quando consolidou-se o uso do corset como roupa interior. A partir deste uso, buscamos identificar momentos emblemáticos desta prática, bem como as rupturas em sua continuidade, com o objetivo de localizar nestas fraturas os papéis específicos assumidos, nas interações, pelo corset e pelo corpo, para categorizar, a partir deles, os trânsitos entre continuidade e descontinuidade do uso do corset. Para tal, este estudo recorre a um extenso corpus de pesquisa, formado por imagens de corsets, crinolinas e trajes colhidas de acervos de museus, bem como fotografias de lingeries comercializadas em lojas virtuais, além de imagens que auxiliam na recontrução das tendências de corpo estudadas, como publicidades e reproduções de pinturas. À luz da sociossemiótica de Landowski, da teoria semiótica de Greimas e da semiótica visual de Floch e Oliveira, conduzimos uma investigação destes usos e configurações vestimentares, que nos possibilitou isolar as relações de complementaridade entre os papéis dos atores corset e corpo na narrativa vestimentar, que embasam a dominância do primeiro como destinador do corpo, além das demais relações entre estes dois papéis, reveladoras de um maior protagonismo do corpo, importante formador das passagens da moda e do entorno social que a engloba

Style APA, Harvard, Vancouver, ISO itp.

26

Kjellqvist, Gabriella. "Handbok för kreativitet : En undersökning om kreativitet i relation till visuellt material och hur den blir gynnsam för lärande". Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6932.

Pełny tekst źródła

Streszczenie:

I det här arbetet har begreppet kreativitet utifrån den konstnärliga området undersökts ur ett pedagogiskt perspektiv. Det empiriska materialet som består av svar från två enkätundersökningar och bilder från deltagare i en fokusgrupp har analyserats hur en bild med “rätt” resurser bidrar till en mångfald av idéer och skapar en kreativ bild. Detta för att belysa hur vi kan öva upp vår egen kreativa förmåga inom den konstnärliga området med hjälp av visuellt material, i det här fallet “Handbok för kreativitet”. I undersökningen framkom det att en kreativ bild är en bild som består av en bildkonstruktion och teckensammansättning som ger en mångfald av tolkningar och associationer och är öppen för transformering. Detta bidrog till vidare förståelse för hur ett kreativt synsätt i skolan är viktigt för att nå en mer jämlik skola mellan det verbala och textuella och praktiskt utförande. Undersökningens gestaltande del utgörs av egna visuellt framtagna bilder som är tolkade utifrån de bilder som ansågs som gynnsamma för kreativitet och skapande i en av enkätundersökningarna. Hela gestaltningen är i form av en bok, “Handbok för kreativitet” på 58 sidor och består, nästan enbart, av visuellt material.

Style APA, Harvard, Vancouver, ISO itp.

27

Andrésen, Samuel, i Dahlgren Robin Karlsson. "Det räcker med ett hej. : En kvantitativ och kvalitativ undersökning om betydelsen av hälsningar". Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84715.

Pełny tekst źródła

Streszczenie:

I vår samtid är det lätt att ibland känna sig ensam. Pandemin har försvårat möten mellan människor och påverkar väldigt många psykiskt. Men pandemin kommer att passera, och då får vi inte låta återhållsamhet bli det nya normala. Vi behöver bekräfta, se och hälsa på varandra. Människor behöver känna tillhörighet. Den här studien syftar därför till att undersöka människors attityder till hälsningar och vidare använda den kunskapen för att skapa en effektiv visuell kampanj för att främja mer hälsningar i samhället. Genom en enkätundersökning har vi kunnat samla in data som med stöd av tidigare forskning och teoretiskt ramverk hjälpt oss påvisa att hälsningar kan göra en stor positiv skillnad i vardagen för människor. Enkätundersökningen fungerade även som en målgruppsanalys som visade att unga människor, som bor/vistas ofta i stadsmiljö och som nyttjar sociala medier är de som hälsar i lägst utsträckning. Med kunskap om målgruppen och dess attityder kunde vi genom två fokusgruppsdiskussioner och teoretiskt ramverk skapa en annonskampanj som på ett visuellt tilltalande och effektivt sätt uppmanar målgruppen till mer hälsningar.
Nowadays it is easy to feel lonely. The pandemic has made meetings between people more difficult which affects many people mentally. But the pandemic will pass, and then we do not want the restrained attitude to become the new normal. We need to confirm, see, and welcome each other. People need to feel a sense of belonging. This study therefore aims to examine people's attitudes towards greetings and further use that knowledge to create an effective visual campaign to promote more greetings in society. Through a survey, we have been able to collect data that, with the support of previous research and theoretical framework, has helped us show that greetings can make a big positive difference in everyday life for people. The survey also served as a target group analysis, and showed that young people, who often live / stay in an urban environment and who use social media, are the ones who greet to the least extent. With knowledge of the target group and its attitudes, we were able to create an advertising campaign through two focus group discussions and a theoretical framework that in a visually appealing and effective way encourages the target group to open up to greet each other more.

Style APA, Harvard, Vancouver, ISO itp.

28

Eriksson, Emelie. "Patterns of corporate visual selfrepresentation in accounting narratives". Licentiate thesis, Linköpings universitet, Industriell ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-142406.

Pełny tekst źródła

Streszczenie:

This dissertation deals with firms’ visual and pre-visual self-representations in accounting narratives. Self-representations are those descriptions about the company that firms include in accounting narratives to convey the current standings and their identity. External stakeholders increasingly expect non-numerical information about firms to be disclosed, and accounting narratives are a key medium for firms to account for their activities and maintain legitimacy as social actors. The question of which reporting conventions exist for legitimating selfrepresentations, especially from a visual perspective, remains unexplored. The purpose of this study is therefore to explore the empirical phenomenon of self-representations in accounting narratives in relation to legitimation rhetoric. The study is based on three research papers dealing with different patterns of self-representations in accounting-related narratives, including corporate reporting and business model diagrams. The examples are viewed through the theoretical lenses of semiotics and institutional theory, particularly legitimation theory. The study combines visual methods (visual content analysis and visual taxonomy) with other methods (interviews, text analysis) to conceptualize and exemplify what is meant by self-representations in accounting narratives. The study finds that there may be multiple parallel pre-visual self-representations at play to influence representations of the self, that visual self-representations are becoming more common in accounting narratives, and that several rhetorical strategies for legitimation are observable in these representations. By showing how diagrams can serve a legitimating purpose in accounting narratives, it is argued that diagrams should be considered on par with graphs and photographs as visual rhetorical devices in accounting narratives, and that they could be used as key communicative elements in the accounting process. Second, based on the longitudinal and comparative examples of self-representations, it is suggested that self-representations increasingly refer to abstract rather than concrete referents. This change is discussed in terms of the increasingly digital and service-based knowledge economy, where material referents give way to “amaterial” values. The contribution of this study is to describe selfrepresentations through several empirical examples, and to thereby increase awareness among practitioners and researchers of how visuals serve as communicative resources with legitimating functions in accounting narratives. Four concepts are proposed as tools for explaining the observed developments, and for improving visual literacy with regard to accounting narratives: inclusive perspective on accounting narratives, amateriality, self-representation, and diagrams.
Denna licentiatavhandling handlar om företags visuella och ”för-visuella” själv-representationer i kontexten redovisning. Till självrepresentationer hör de beskrivningar som företaget inkluderar i sin externt rapporterade information för att förmedla dess ställning och identitet. Externa intressenter förväntar sig i ökande utsträckning att även icke-numerisk information redovisas av företaget, vilket gör denna typ av externt rapporterade information viktig för att redovisa aktiviteter och för företag att därigenom bibehålla legitimitet som sociala aktörer. Frågan om vilka rapporteringskonventioner som finns kring företags självrepresentationer är i dagsläget inte utforskad. Syftet med denna studie är därför att undersöka det empiriska fenomenet självrepresentationer i kontexten redovisning kopplat till perspektivet legitimeringsretorik. Studien baserar sig på tre forskningsartiklar som behandlar olika empiriska exempel och mönster av självrepresentationer, exempelvis affärsmodellsdiagram. Dessa betraktas utifrån de teoretiska linserna semiotik och institutionell teori, speciellt legitimeringsteori. Studien kombinerar visuella metoder (visuell innehållsanalys och visuell taxonomi) med andra metoder (intervjuer och textanalys) för att konceptualisera och exemplifiera vad som menas med självrepresentation i kontexten redovisning. Studien finner att det kan förekomma många parallella för-visuella självrepresentationer som påverkar företags självuppfattning, att visuella självrepresentationer blir alltmer vanliga i företags externt publicerade information, och att flera retoriska legitimeringsstrategier förekommer i det undersökta materialet. Genom att visa hur diagram används som kommunikationsresurs så argumenterar studien för att fortsatt forskning behövs för att undersöka hur diagram, likt mer utforskade visuella format såsom grafer och fotografier, bidrar till företags legitimeringsretorik i externt publicerad redovisningskommunikation, samt att diagram kan fungera som viktiga resurser för självrepresentation i företags redovisningsprocess. Dessutom föreslås, baserat på longitudinella och jämförande exempel, att självrepresentationer i ökande grad relaterar till abstrakta snarare än konkreta referenter. Denna förändring diskuteras i termer av en alltmer digital och tjänstebaserad kunskapsekonomi, där materiella referenter överges till förmån för ”amateriella” värden. Studiens bidrag är att beskriva själv-representationer genom flera empiriska exempel, och att därmed öka medvetenheten hos praktiker och forskare om hur visuella format kan tjäna legitimeringssyften i kontexten redovisning. Baserat på studiens analys och resonemang lyfts fyra begrepp fram för att förklara den observerade utvecklingen, samt för att bidra till att förbättra praktikers såväl som forskares ”visuella läskunnighet”: ett inkluderande perspektiv på externt publicerad information, amaterialitet, självrepresentation, och diagram.

Style APA, Harvard, Vancouver, ISO itp.

29

Håkansson, Jens. "Ytans djup : Visuell ikonicitet i den grafiska konstformen lyrik". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35110.

Pełny tekst źródła

Streszczenie:

This thesis revolves around an obvious fact: printed (or otherwise two- or three-dimensional) poetry is always and inevitably visual. By analysing a representative selection of poems, including conspicuously experimental and image-like poems as well as examples of more conventional poetry, the thesis points out that visual iconicity is an equally inevitable consequence of the visuality of printed poetry. The analysis applies terminology relating to iconicity and intermediality (presented by Lars Elleström, whose theoretical basis is the semiotics of Charles Sanders Peirce) to the selected poems, while avoiding making too specific interpretations, in order to maintain a discussion of the ever-present phenomenon of visual iconicity as such, and not just the individual examples. Rather than introducing visual iconicity specifically to confirm more or less specific interpretations of poetic texts, this method of approaching poems as two-dimensional works of art is what this paper mainly aims to propose, as a productive starting point for literary analyses in general; as is concluded in the theoretical framework by Elleström, the actual modal and iconic properties of printed poetry contradict mutually exclusive dichotomies such as verbal/visual and text/image. While indirectly visually iconic poems tend to have a wider range of possible interpretations at the outset, the existence of iconic potential, however, does not depend on any specific interpretation.

Style APA, Harvard, Vancouver, ISO itp.

30

Souza, Andréa Silva. "Estudo sobre o conforto visual nas interfaces com ênfase no daltonismo". Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/18118.

Pełny tekst źródła

Streszczenie:

Made available in DSpace on 2016-04-29T14:23:17Z (GMT). No. of bitstreams: 1 Andrea Silva Souza.pdf: 3578491 bytes, checksum: 051cabe4e4a4d4b29651cda188b16c46 (MD5) Previous issue date: 2013-04-17
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This work studies the visual comfort in interfaces as a way to improve the accessibility and usability on the websites. Its main objective is to research the colors and their influence on access to web space turning it better, bringing the use of Internet for everyone without exception. Among the theoretical and methodological aspects chosen was approached the philosophy of semiotics, color theory, and especially the concepts of accessibility and usability
Este trabalho estuda o conforto visual nas interfaces, como forma de melhoria na acessibilidade e usabilidade nos sítios. Tem como principal objetivo a pesquisa das cores e sua influencia quanto ao acesso no espaço web melhorando e trazendo, ao mesmo tempo, uma Internet para todos sem exceção. Dentre os aspectos teórico-metodológicos escolhidos foi abordada a filosofia da semiótica, teoria das cores, e principalmente os conceitos de acessibilidade e usabilidade

Style APA, Harvard, Vancouver, ISO itp.

31

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.

Pełny tekst źródła

Streszczenie:

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.

Style APA, Harvard, Vancouver, ISO itp.

32

Reis, Ana Rita Dias Araújo. "Uma visão coreográfica". Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/17894.

Pełny tekst źródła

Streszczenie:

Dissertação de Mestrado em Design, com a especialização em Design de Comunicação apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
A comunicação visual desempenha um papel fundamental na compreensão de múltiplas realidades, sobretudo quando esta tem a capacidade de modificar a perceção das mesmas. Na dança, este tipo de comunicação torna-se essencial para interpretar corretamente as diversas obras, bem como os movimentos que lhes são inerentes. O presente projeto de investigação tem como objeto de estudo a notação de dança. A dança não possui um sistema de notação de universalmente padronizado, fator que condiciona o seu desenvolvimento a nível criativo, educativo e profissional, bem como a documentação de movimento coreográfico que assegure a sobrevivência do trabalho desenvolvido neste âmbito e a sua preservação histórica. O principal objetivo desta investigação consiste em compreender os sistemas de notação de dança considerados casos de referência, identificando os principais problemas e qualidades dos mesmos. O processo investigativo segue uma metodologia não intervencionista de base qualitativa. A abordagem tomada no processo da revisão da literatura abrangente de diversas áreas de conhecimento do campo investigativo do design de comunicação, como a semiologia e a semiótica, o design gráfico, a notação, bem como as áreas da música e da dança, conduziu a uma compreensão das mesmas. Por sua vez, esta permitiu realizar uma análise de casos de estudo relevantes, possibilitando a recolha de informações fundamentais para percecionar a realidade e o contexto do ambiente e do espaço em investigação, assim como as principais problemas e qualidades dos mesmos. Deste modo, foi possível avaliar os resultados obtidos. O principal resultado desta investigação consiste num contributo para o desenvolvimento da comunicação visual na dança, bem como para o conhecimento da área em questão.
ABSTRACT: Visual communication plays a fundamental role in the comprehension of multiple realities, particularly when it has the capacity to modify their perception. In dance, this type of communication becomes essential to correctly interpret the multiple works, as well as the movement inherent to them. This investigation project’s subject of analysis is the notation of dance. Dance does not have a universally standardized system of notation, a factor which conditions it’s development on a creative, educational and professional level, as well the documentation of choreographic movement which would ensure the survival of the work developed in this context and its historical preservation. The main goal in this research is to understand the dance notation systems considered as reference cases and identifying their main problems and qualities. The investigative process follows a non-interventionist, qualitative based methodology. The approach taken in the process of literature revision, which spans multiple areas of knowledge from the investigational field of communication design, like semiology and semiotics, graphical design, notation, as well as some fields of music and dance, has led to comprehension of these.In turn, it has allowed a relevant case study analysis to be made, enabling the gathering of information vital to perceiving the reality and the context of the environment and the space being investigated, as well as the main issues and qualities of these. This allowed for the analysis of the obtained results. The main result of this investigation consists of a contribution to the development of visual communication in dance, as well as to the knowledge of the field in question.
N/A

Style APA, Harvard, Vancouver, ISO itp.

33

China, Addie L. Sayers. "Beyoncé as a Semiotic Resource: Visual and Linguistic Meaning Making and Gender in Twitter, Tumblr, and Pinterest". Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7133.

Pełny tekst źródła

Streszczenie:

At the intersection of digital identities and new language and social practice online is the concept of searchable talk (ST). ST describes the process of tagging discourse in a social networking service (SNS) with a hashtag (#), allowing it to be searchable by others. Although originating in Twitter, ST has expanded into other SNS, and is used therein not only to mark language-based posts, but also multimodal posts and images. While scholars have elucidated the structure and function of ST, their studies have primarily examined ST within language-based posts; few have researched ST with respect to images and other types of multimodal environments. In addition, ST has primarily been explored in its SNS of origin, Twitter. This project directly addresses these gaps by adopting a social semiotic approach to ST in three SNS with very different technological affordances, Twitter, Tumblr, and Pinterest. Through a multimodal discourse analysis (Kress, 2009) combining both linguistic and other visual methods, I ask how visual and linguistic choices operate semiotically across SNS environments with different affordances and constraints. Specifically, I uncover the multiple meanings of Beyoncé across a data set of 300 tweets, posts, and pins composed from entering #Beyoncé in the search engine of each SNS. I argue that 13 meaning-based identity categories emerge for Beyoncé, and link these meanings to their visual and linguistic expressions. I then compare these findings across modes and across platforms. Ultimately, I assert that this cross-platform approach elucidates Beyoncé as a cultural object subject to reinterpretation where #Beyoncé means much more than just “Beyoncé.” That is, when considering its multiple roles and meanings, #Beyoncé becomes a site of visual and linguistic indexicality in a process of entextualization. In this process, it is SNS users’ reinterpretations – linguistically and visually – that realize racist, sexist, and hegemonic Discourses, as well as those of emancipation and resistance.

Style APA, Harvard, Vancouver, ISO itp.

34

Rhodes, James W. Jr. "An Analysis of Visual and Verbal Appropriates in Mark Tansey's Philosophers Paintings". VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/37.

Pełny tekst źródła

Streszczenie:

Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.

Style APA, Harvard, Vancouver, ISO itp.

35

Bergman, Anna, i Tina Gustawsson. "Att designa efter typsnitt : En kvalitativ studie om typografins kraft och betydelse i designprocessen". Thesis, Högskolan Väst, Avd för medier och design, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-15660.

Pełny tekst źródła

Streszczenie:

Denna uppsats behandlar frågorna om hur och varför ett typsnitt kan förmedla ett visst intryck, en känsla eller tonalitet på en webbsidas rubriker. Samt betydelsen av, som designer eller annan yrkesverksam inom området, att ha kännedom och medvetenhet kring typsnitt. Vi valde en kvalitav metod utifrån våra frågeställningar. Genom intervjuer och en fokusgrupp ämnar vi undersöka tre typsnitt från tre olika typsnittsfamiljer. Typsnitten vi specificerat oss på är Roboto (sans serif), La Parisienne (regular skript) samt Fifty four (display/dekorativ). Teoretiska utgångspunkter hämtas från tidigare studier inom ämnet, litteratur av sakkunniga samt data från empirisk undersökning som vi samlat in från intervjuer och en fokusgrupp. En webbsida, utvecklad i WordPress har varit ett praktiskt moment och har fungerat som en plattform för vår undersökning genom att presentera våra olika rubrikers typsnitt. Resultatet från vår undersökning visade att våra valda typsnitt på rubrikerna tolkades likvärdigt och att det är främst formen som avgör. Studien tydliggör även att typsnitt kan tolkas utifrån person och personlighetsdrag, genom grundkänslor, tidigare associationer, konnotation och majoritetens överensstämmande svar. Vi ser att kunskap om typsnitt har en central roll i den tidiga designprocessen. Med detta i åtanke blir det viktigt för designern att kunna behärska typografi och förstå dess kraft.
This essay addresses the questions about how and why a font can convey a certain impression, feeling or tonality on a website's headings. As well as the importance of being a designer or other professionals in the field, to have knowledge and awareness of fonts. We have chosen a qualitative method based on our questions. Through interviews and a focus group, we intend to study three fonts from three different fontfamilies. Roboto (sans serif), La Parisienne (regular script) and Fifty four (display /decorative). Theories are obtained from previous studies in the subject, we refer to literature by experts and the data comes from our empirical research that we have collected from our interviews and the focus group. We have developed a website in WordPress, that has been a practical element and has served as a platform for our research by presenting the fonts of our various headings. The results of this study showed that our selected fonts of the headlines were interpreted equally by our informants and everyone answers that it depends on what kind of a typeface it is. Fonts can be interpreted from many different perspectives, the form of a font affects people's interpretation a lot but also interpreted based on personality traits, through basic feelings, past associations, connotation and the majority's response which was consistent. The knowledge of fonts plays a central role in the early design process and it becomes important for a web designer to be able to master typography and understand its powers.

Style APA, Harvard, Vancouver, ISO itp.

36

Costa, Kátia Regina Rebello da. "O ser negro à vista: construção verbo-visual do negro na propaganda impressa". Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2792.

Pełny tekst źródła

Streszczenie:

Esta tese destina-se a desenvolver estudo semiótico de propagandas impressas em que a pessoa negra é posta em presença. Investiga-se como a propaganda veiculada em revista, mediante seleção e combinação sígnicas, efetiva a construção da imagem verbo-visual do negro, tendo em vista o produto anunciado e os projetos comunicativos do enunciador e, assim, como finda por ratificar ou (re)elaborar significados sociais acerca desse sujeito. Pautando-se na Semiótica de Charles Sanders Peirce e tendo por suporte, fundamentalmente, a Teoria da Iconicidade Verbal de Simões (2009), a pesquisa aborda todos os signos verbais e não verbais em diálogo, como dotados de potencial icônico, não só revelador dos projetos de texto, como também ativador de interpretações/leituras e, ainda, delineador de sentidos, posteriormente cristalizados e convertidos em significados imanentes aos signos e aos objetos reportados. Por ter, como material constitutivo do corpus, textos elaborados em linguagem mista, a pesquisa propõe a aplicação da Teoria da Iconicidade Verbal ao universo dos signos lato sensu. O debate apresenta o texto de propaganda como excelente material, não só para implementar os estudos de História e Cultura Afro-brasileiras, como prevê a Lei 10.639/03, como também para subsidiar o ensino de língua portuguesa, com ênfase para os estudos sobre leitura e produção textual, para que se forme sujeito dotado de habilidades que lhe permitam reconhecer no verbal e no não verbal a revelação e a geração de sentidos sociais
This thesis is destined to develop the semiotics study of the printed advertisement where the black person is placed in presence. It is investigated as the advertising propagated in magazine, by means of election and meaning combination of signs accomplishes the construction of verbal/visual blacks image, in the announced products view and the communicative annunciators projects; and, thus, how it terminates for ratifying or elaborating or (re) elaborate social meanings about that being. Basing on the Semiotics of Charles Sanders Peirce and having for support, basically, the Theory of the Verbal Iconicidade of Simões (2009), the research approaches all the verbal signs and the no verbal ones in dialogue, as endowed with iconic potential, not only discloser of the texts projects, as well as activator of interpretations/readings and, yet, delineator of feelings, subsequently crystallized and converted into intrinsic meanings to the signs and to the reported objects. For having, as material constituent of the corpus, texts elaborated in mixing language, the research proposes the application of the Iconicity Verbal to the universe of the signs lato sensu. The discussion presents the advertisement text as excellent material not only to implement the studies of History and Culture Afro-Brazilians, as she foresees Law 10,639/03, as well as to assist the study of the Portuguese language, expressively for the studies of reading and textual production, in order to mould a being endowed with abilities that allow him to recognize in the verbal and in the no verbal, the revelation and the generation of the social feelings

Style APA, Harvard, Vancouver, ISO itp.

37

Norman, Amandreas. "Att göra bildkonst av teater : En semiotisk analys av Uppsala stadsteaters visuella retorik under 2018". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448608.

Pełny tekst źródła

Streszczenie:

The purpose of this essay is to examine nine posters from 2018 made by the Uppsala City Theater to determine how the posters communicate with the beholder. The questions asked are: How does each poster work to persuade its beholder that the play it refers to is of interest to the beholder? What strategies are used? And how do the posters correlate to each other? Are there any common or reoccurring themes? The theoretical framework consists of previous research about both movie and theater posters, semiotics, aesthetics and visual communication. A semiotic analysis shows that the posters favor the plays’ aesthetics over information about the production and that the Uppsala City Theater’s visual marketing is adhering to their brand, leading to the posters having a coherent style. Differences between how movie posters and theater posters are designed and the use of nudity in theater marketing are also discussed.

Style APA, Harvard, Vancouver, ISO itp.

38

Matthews, Waseem. "Multimodality and negotiation of Cape Flats identity in selected Daily Voice front pages". Thesis, University of the Western Cape, 2009. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4688_1315294286.

Pełny tekst źródła

Streszczenie:

This thesis explores the social semiotic relationship of visual and verbal signs of the Daily Voice tabloid as a way to show how the social context influences meaning of the signs used in its multimodal frontpages. The Daily Voice tabloid largely uses Kaapse English/ Afrikaans as spoken by Coloureds on the Cape Flats on its frontpages rather than standard English or standard Afrikaans associated with White people. The study assumes that the meaning constructed by and through the verbal and visual signs on the Daily Voice frontpages is interdependent on the relationship the multimodal texts have with the largely Cape Flats readership. This study maintains the importance of the idea of the localisation of meaning in socio-cultural specific contexts throughout. I conclude that Kress and Van Leeuwen&rsquo
s (1996/2006) design could be extended beyond Westernised contexts and that marginalised discourses such as those unique to the Cape Flats are not static, but indeed dynamic. I also extend the appraisal theory by Martin and White (2005) to marginalised bilingual discourse and establish that Appraisal theory can be used to not only evaluate verbal discourse but also that visual discourse needs to be considered as a tool within the appraisal framework. I also conclude by suggesting a monolectal view of Kaapse English/Afrikaans discourse. That is, the meaning potential of Kaapse English/Afrikaans by Cape Flats speakers would be lost if perceived or analysed as emanating from two languages, (White) English and (White) Afrikaans. Therefore the conclusion is that the Daily Voice uses Kaapse English/Afrikaans as is used in Cape Flats socio-cultural contexts to construct meaning-making options across its frontpages.

Style APA, Harvard, Vancouver, ISO itp.

39

Frankow, Crivellaro Tove. "Hur bemöts barn i det virtuella biblioteksrummet? : En socialsemiotisk bildanalys av fyra folkbibliotekswebbsidor". Thesis, Uppsala universitet, Institutionen för ABM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-226060.

Pełny tekst źródła

Streszczenie:

The purpose of this master's thesis is to examine how the public library communicates with young users through the library web sites. Four Swedish public library web pages for children are analysed. In the analysis the web pages are treated as a combination of semiotic resources that, communicating as a whole, hold a meaning potential. In order to identify the underlying meaning of the whole I have applied the tools of Kress' & van Leeuwen's visual social semiotics to the chosen web pages. The information value, the framing and the salience of each composition is examined and analysed, as is the size of frame, the perspective and the vertical angle of a selection of images from each web page. The results of the semiotic analysis are then discussed and related to Jochumsen et al:s four space-model and the notion of ”child perspective” and ”empowerment”. The results show that the child perspective is strongest on the web pages that represent the performative space as dominating and that empowerment is mainly represented as ”doing”, ”participating” and the ”free choice”. The representation of adult presence often contradicts the child perspective that the overall layout communicates. Another finding is that part and whole tend to convey the same message. This is a two years master's thesis in Archive, Library and Museum studies.

Style APA, Harvard, Vancouver, ISO itp.

40

Figueira, Rodrigo Minelli. "Laboratório de signos: a produção de significações na cultura visual digital". Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4997.

Pełny tekst źródła

Streszczenie:

Made available in DSpace on 2016-04-26T18:16:44Z (GMT). No. of bitstreams: 1 Rodrigo Minelli Figueira.pdf: 293471 bytes, checksum: fe7975cec5d78a92d9a17a08454182a0 (MD5) Previous issue date: 2007-12-12
The general objective of this research is to analyze the way as the discursives strategies in what Andrew Darley defined as being the visual digital culture and it s relation with the technological possibilities and medias of communication. In its book Visual Digital Culture he defines that way the cultural forms appeared from dissemination of the graphic computer and considered it while a cultural phenomena. The idea is reach to understand of how semiotics status expressed in languages, speeches, sorts, formats, messages is conformed by the technology/media used to express them. Tries to understand how contemporaries semiotics are codified by the machines and the cultural implications of this codification. The theoretical aproach of the present work is in the studies of Semiotics of Culture. To reach our objectives we intend in basically supporting them in the works of two of these authors, Mikhail Bakthin and Iuri Lotman and in the concepts of dialogism and poliphony of first and the notion of text of the culture and the semiosphere of the second one. We will search to bring the reflection of these authors to dialogue with other authors who have attemped to reflect on the occured transformations from the dissemination of the technologies of communication and information from middle of the XX century, as the proper Darley, Lev Manovich, Paul Miller and Arlindo Machado among others. The object chosen for our research is the work of the group feitoamãos , collective of artists who since 1999 dedicate the research and experimentation to it in electronic art, having carried through single channel videos, web-art, installations and performances. We will search through the analysis of the expressiveness structures of the presentations of the group to understand the flow established between the diverse languages used in its works. Our main hypothesis is of that fragmentation, simultaneness, reiteration, not-linearity and noises they adopted are expressiveness resources inside of the context of the visual digital culture and that they are some of the characteristics and necessities of the urban condition that if they reflect, at the same time that they are expressed through and in the media. We also understand that as well as the technologies open new expressiveness possibilities, the limitations of one specific media determine the signing productions in that media. We analyze what forms they had and which are the current characteristic forms of expression of that culture. if these consolidate from the cultural configurations of determined time we can assume that at the same time that they reflect the technical possibilities, they are for these determined
O objetivo geral desta pesquisa é analisar os modos como as estratégias discursivas presentes naquilo que Andrew Darley definiu como sendo a cultura visual digital se relacionam com as possibilidades técnicas e mídias de comunicação. Em seu livro Cultura Visual Digital o autor define desta maneira as formas culturais surgidas a partir da disseminação da computação gráfica e consideradas enquanto fenômenos culturais. A idéia é buscar entender de que forma os regimes semióticos expressos em linguagens, discursos, gêneros, formatos, mensagens são conformados pela tecnologia/mídia empregada para expressálos. Ou seja, entender como as formas contemporâneas são codificadas pelas máquinas semióticas e as implicações culturais desta codificação. O recorte teórico do presente trabalho se encontra nos estudos da Semiótica da Cultura. Para alcançar nossos objetivos pretendemos nos apoiar fundamentalmente na obra de Mikhail Bakthin e Iuri Lotman e nos conceitos de dialogismo e polifonia do primeiro e da noção de texto da cultura e semiosfera do segundo. Buscaremos trazer a reflexão destes autores para dialogar com outros autores que têm tentado refletir sobre as transformações ocorridas a partir da disseminação das tecnologias de comunicação e de informação a partir de meados do século XX, como o próprio Darley, Lev Manovich, Paul Miller e Arlindo Machado entre outros. O objeto escolhido para nossa pesquisa é o trabalho do grupo feitoamãos , coletivo de artistas que desde 1999 dedica-se à pesquisa e experimentação em arte eletrônica, tendo realizado vídeos single channel , web-arte, instalações e performances. Buscaremos através da análise das estruturas expressivas das apresentações do grupo compreender os fluxos estabelecidos entre as diversas linguagens presentes em seus trabalhos. A nossa hipótese principal é a de que fragmentação, simultaneidade, reiteração, não-linearidade e ruídos são recursos expressivos adotados dentro do contexto da cultura visual digital e que são algumas das características e necessidades da condição urbana que se refletem, ao mesmo tempo que são expressos através e nos mídia. Acreditamos também que, assim como as tecnologias abrem novas possibilidades expressivas, as limitações técnicas de uma dada mídia determinam as produções sígnicas naquela mídia. Analisamos de que forma se dão e quais são as atuais formas de expressão características desta cultura; se estas se consolidam a partir das configurações culturais de determinada época podemos supor que ao mesmo tempo que refletem as possibilidades técnicas, são por estas determinadas

Style APA, Harvard, Vancouver, ISO itp.

41

Fält, Susanna. "Branding, förpackning och genus : En uppsats om parfymindustrins strategier". Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44751.

Pełny tekst źródła

Streszczenie:

Den här uppsatsen undersöker hur parfymproducenter väljer att visuellt kommunicera sina varumärken och designa förpackningar. Detta utförs genom visuell retorik där studien undersöker de strategier som använts i reklam samt hur brandingen återspeglas i förpackningsdesignen. Undersökningsmaterialet utgörs av utvalda produkter hos de tre parfymvarumärkena Dior, Paco Rabanne och Byredo. Analysen innefattar även frågan om hur kvinnor och män representeras i varumärkets bildspråk, till exempel om de endast porträtteras i enlighet med sina respektive könsstereotyper. Den grafiska designens utveckling har gjort det möjligt att producera olika former av grafiska uttryck på flaskor och förpackningar. Trots dessa möjligheter är parfymindustrin ofta könskodad och likt många andra branscher väldigt likriktad i sin visuella kommunikation, det vill säga att företag ofta följer en typ av norm eller tradition för hur de förväntas kommunicera och hur deras visuella identiteter ska se ut. Uppsatsen har föregåtts av ett relaterat designprojekt, där ett skovarumärke med ett annorlunda bildspråk och förpackning skapats. Dess visuella kommunikation har skiljt sig från de konkurrerande varumärkena beträffande uttryck och maner. Ett spännande projekt där positioneringen även visar på risken för otydlighet. Undersökningen visar att parfymvarumärkenas branding återspeglas i förpackningsdesignen genom trycket av logotyp och att kombinationen av grafiska element, typsnitt, färg och form där den huvudsakliga uppgiften är att rikta sig mot kvinnor eller män, är överrepresenterad. Den visar också att könsstereotyper men även särskiljande kommunikation finns representerad inom parfymreklam.
This essay examines how perfume producers choose to visually communicate their brand and packaging design. This is done through visual rhetoric where the study examines the strategies used in advertising and how the branding is reflected in the packaging design for some selected products of the three perfume brands Dior, Paco Rabanne and Byredo. The analysis also includes the question of how women and men are represented in the brand’s imagery, for example if they are only portrayed in accordance with their respective gender stereotypes. The development of graphic design has made it possible to produce various forms of graphic expression on bottles and packaging. Despite these possibilities, the perfume industry is often gender-coded and, like many other industries, very uniform in its visual communication, that is to say companies often follow a type of norm or tradition for how they are expected to communicate and what their visual identities should look like. The essay was preceded by a related design project, where a shoe brand with a different imagery and packaging was created. Its visual communication has differed from the competing brands in terms of expression and manner. An exciting project where the positioning also shows the risk of ambiguity. The survey shows that the branding of perfume brands is reflected in the packaging design through the print of the logo and that the combination of graphic elements, fonts, color and shape where the main task is to target women or men, is overrepresented. It also shows that gender stereotypes but also distinctive communication are represented in perfume advertising.

Style APA, Harvard, Vancouver, ISO itp.

42

Swann, Sandra Tjahjani. "Visual communication in the Indonesian Family Planning Program (1986-2003): a study of a public campaign in Indonesia". Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/1084.

Pełny tekst źródła

Streszczenie:

This thesis is about the visual communication of the national family planning program in Indonesia from 1986 to 2003, which covers three periods: later New Order from 1986 to 1997, Transition in 1998 and early Reformation from 1999 to 2003. This study applies visual social semiotics to the visual images of promotional advertisements from eight campaigns during those 17 years. The study shows that culture is pervasive in these images and that the visual social semiotics framework could only be applied to some extent for reading images of non-Western culture. Visual social semiotics as a methodology provides an accounting framework and is a starting point for interpreting meaning from visual images. From reading the images, there are two themes that play significant roles in understanding the family planning program: nationalism and, family and women. These two themes are deployed in different measure for each period of time to constantly re-define family planning in an engaging and optimal way. However, the technique of visualisation remained the same during the three periods. The practices of looking facilitated by the visual images published for the family planning program positions viewers as Indonesian citizens with a certain morality which generates a general positive attitude about the program. The thesis provides a detailed reading of numerous images from the family planning program; drawing not only on the representation, interaction and composition created by the images but also from analysis of international and state policy on family planning and also the translation of policy into cultural messages.

Style APA, Harvard, Vancouver, ISO itp.

43

Câmara, Mônica. "Uma gramática visual para o fotojornalismo". Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/8689.

Pełny tekst źródła

Streszczenie:

Submitted by Clebson Anjos (clebson.leandro54@gmail.com) on 2016-10-04T18:57:46Z No. of bitstreams: 1 arquivototal.pdf: 6610506 bytes, checksum: 371e61e214ef8b63adfe26f94f53611d (MD5)
Made available in DSpace on 2016-10-04T18:57:46Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 6610506 bytes, checksum: 371e61e214ef8b63adfe26f94f53611d (MD5) Previous issue date: 2010-06-16
This work is about the presence of language in the discourse of photographic images, photographs of information, specifically. By supporting the idea that images can speak, narrate facts, provoke our senses. We will analyze some photojournalistic images produced by the author of this research for the Diário Paraibano O Norte (2001 through 2006), showing its semiotic implications through Peirce’s theory of signs (1995); its syntactic-imagery structure, understood and manipulated by the Visual Grammar of Kress and van Leeuwen (1996); possible formalizations on the aesthetic experience which is also covered in this type of text (BARILLI, 1994; SILVA, 2010); as well as showing discursive performances with syntactic and aesthetic effect (KRESS and van LEEUWEN, 1996; BARILLI, 1994; SILVA, 2010).
Este trabajo analiza la presencia del lenguaje en el discurso de las imágenes fotográficas, en particular, las fotografías de información. Apoyando la idea de que las imágenes hablan, narran hechos, provocan nuestros sentidos. Analizamos las imágenes fotoperiodísticas producidas por la autora de esta investigación para el Diario Paraibano O Norte (entre 2001 y 2006), mostrando sus implicaciones semióticas, a través de la teoría de los signos de Peirce (1995), su estructura sintáctico-imagética comprendida y manipulada por la Gramática Visual de Kress y van Leeuwen (1996); posibles formalizaciones sobre la experiencia estética también presentes en este tipo de texto (BARILLI, 1994; SILVA, 2010); así como mostrando performances discursivas de efecto sintáctico y estético (KRESS y van LEEUWEN, 1996; BARILLI, 1994; SILVA, 2010).
Este trabalho envolve a presença da linguagem no discurso das imagens fotográficas, mais especificamente as fotografias de informação. Corroborando a tese de que as imagens falam, narram fatos, provocam nossos sentidos, tomaremos de empréstimo as imagens fotojornalísticas produzidas pela autora desta pesquisa, para o diário paraibano O Norte (entre 2001 e 2006), mostrando suas implicações semióticas, através da teoria dos signos de Peirce (1995); sua estruturação sintático-imagética, compreendida e instrumentalizada pela Gramática Visual de Kress e van Leeuwen (1996); possíveis formalizações sobre a experiência estética também presente nesse tipo de texto (BARILLI, 1994; SILVA, 2010); bem com evidenciando performances discursivas de efeito sintático e estético (KRESS e van LEEUWEN, 1996; BARILLI, 1994; SILVA, 2010).

Style APA, Harvard, Vancouver, ISO itp.

44

Salih, Dania. "Brand Image and Self Image: A study on the semiotics behind Victoria’s Secret’s visual communication and its impact on its target audience". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22829.

Pełny tekst źródła

Streszczenie:

This essay explores how a brand’s image affects consumers’ self-image through acase study of the lingerie brand Victoria’s Secret in order to reflect over the role ofgraphic designers as visual communicators in society. The study conducts a semioticanalysis of the brand and a qualitative research consisting of interviews and a focusgroup of a selection of women within the brand’s target audience. The conclusion isthat Victoria’s Secret, through its models, contributes to an unrealistic feminineideal that the study participants’ self-image was perceptibly affected by. Whileperception is personal and signs are context reliant, semiotics is not only useful foranalyzing visual communication but also as a tool that graphic designers can use forcreating ads with the consumer’s needs in mind.

Style APA, Harvard, Vancouver, ISO itp.

45

Nunes, Marília Forgearini. "Leitura mediada do livro de imagem no ensino fundamental : letramento visual, interação e sentido". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/87978.

Pełny tekst źródła

Streszczenie:

A relevância da imagem como texto produtor de sentido, único ou associado ao verbal, na constituição do livro literário infantil tem sido discutida em diferentes estudos internacionais e nacionais. Observa-se, porém, uma lacuna de pesquisas que enfoquem como a leitura da imagem na literatura infantil pode ser abordada no contexto escolar. Buscamos com essa pesquisa propor a leitura mediada do livro de imagem no Ensino Fundamental, compreendendo-a como prática de interação e sentido que auxilia no letramento visual. Assim, na primeira parte caracterizamos dois elementos deflagradores deste estudo: o livro de imagem e o Programa Nacional Biblioteca da Escola (PNBE). No segundo momento, delimitamos e problematizamos as ações implicadas na realização do estudo: ler, mediar e letrar. Na terceira parte, situamos teórica e metodologicamente o modo como compreendemos a produção e a apreensão de sentido. Para isso descrevemos conceitos da semiótica discursiva (GREIMAS, 2004; FLOCH, 1985a, 1985b, 2001; OLIVEIRA, 1999, 2001, 2004, 2005) que nos permitem entender como o sentido pode se constituir em relação aos objetos, aos sujeitos e às suas interações. Valendo-nos da semiótica plástica, abordamos os aspectos estruturais do texto-imagem, buscando analisar os efeitos de sentido que a linguagem visual cria no objeto. Com base no desenrolar contemporâneo da teoria semiótica, caracterizamos modos de ser e agir dos sujeitos (LANDOWSKI 2009), em interação com objetos e entre si, e como produzem sentidos, revelando comportamentos que permitem distinguir regimes de interação e sentido. O estudo se dividiu em dois momentos: 1) leitura estrutural de três livros de imagem escolhidos para o estudo; 2) duas ações distintas de leitura mediada de livros de imagem do Acervo PNBE 2010, envolvendo três professoras da rede pública estadual do Rio Grande do Sul e alunos da escola onde elas atuavam. A primeira ação leitora, organizou-se em três encontros nos quais as professoras puderam refletir sobre a leitura do livro de imagem e exercitar o seu olhar leitor. A partir desse exercício, as professoras organizaram a segunda ação de leitura mediada, na qual propuseram uma mediação para uma das obras lidas com seu grupo de alunos do Ensino Fundamental. Essas duas prática distintas de leitura permitiramnos observar os modos de ser e agir das professoras como leitoras e como esses comportamentos estiveram refletidos ou não, recursivamente, nas propostas de mediação organizadas por elas. Todo esse percurso teórico-prático-reflexivo permitiu-nos, por fim, na quinta parte, definir alguns princípios para uma abordagem de letramento visual que tenha o livro de imagem como objeto e a leitura mediada como ação.
The relevance of image as a text able to produce meaning, by itself or associated to verbal texts, in children’s literary books has been discussed in different national and international studies. However, it is possible to notice that there is a gap of researches which concentrate on how schools can deal with reading the image in children literature. This research proposes a mediated reading of wordless books in Elementary School, understanding this practice as interactive and meaningful, as well as a valuable to visual literacy. Thus, in the first part we characterize two elements that give rise to this study: the wordless book and the School Library National Program (PNBE). In the second part, we define and problematize the actions implied in the effort of this study: read, mediate and literate. The third section contextualizes the theoretical and methodological way of understanding the production and apprehension of meaning. In order to this, we describe the concepts of discursive semiotics (GREIMAS, 2004; FLOCH, 1985a, 1985b, 2001; OLIVEIRA, 1999, 2001, 2004, 2005) that allow us to comprehend how meaning can be constructed in relation to objects, subjects and their interactions. Dealing with plastic semiotics, we explore the structural aspects of text-image, analyzing the effects of meaning created by visual language in the object. Based on the contemporary development of the semiotic theory, we characterize ways of being and acting from the subjects (LANDOWSKI 2009), in interaction with objects and by themselves, and how they produce meaning, revealing behaviors that enable to distinguish arrangements of interaction and meaning. The study was divided in two parts:1) the structural reading of three wordless books selected to this study; 2) two different mediated reading activities of wordless books from the PNBE Collection to 2010, involving three teachers from the public school system of Rio Grande do Sul and the students from the school where they work. The first reading practice was organized in three meetings in which the teachers could reflect about wordless book reading and exercise their look of reading. Issued from these practices, the teachers organized the second activity of mediated reading in which they developed a reading mediation with one of the wordless books with their students from Elementary School. These two distinct reading practices enabled us to observe the ways of being and acting of the teachers as readers e how these behaviors has bee reflected or not, recursively, in their propositions of mediation. All this research way, theoretical-practical-reflexive, allowed us, in the end, at the fifth part, to define a few assumptions to an approach of visual literacy that deals with wordless books as the reading object in a mediated action.
La importancia de la imagen como productora del significado, aislada o asociada a lo verbal, en la constitución del libro literario para niños se ha discutido en diferentes estudios, internacionales y nacionales. Hay, sin embargo, la falta de investigaciones que se centren en cómo la lectura de imagen en la literatura infantil puede ser abordada en el contexto escolar. Hemos intentado en esta investigación proponer la mediación de lectura del libro de dibujos en la educación primaria, entendiéndola como una práctica de interacción y sentido que ayuda en la alfabetización visual. Así, la primera parte caracteriza los dos factores desencadenantes de este estudio: el libro de imágenes y el “Programa Nacional Biblioteca da Escola” (PNBE). En un segundo momento, delimitamos e problematizamos las acciones involucradas: leer, mediar y letrar. En la tercera parte, situamos teórica y metodológicamente cómo comprendemos la producción de sentido y entendimiento. Para eso describimos conceptos de la semiótica discursiva (GREIMAS, 2004; FLOCH, 1985a, 1985b, 2001; OLIVEIRA, 1999, 2001, 2004, 2005) que nos permiten entender cómo el significado se puede constituir en relación con los objetos, los sujetos y sus interacciones. Sobre la base de la semiótica de plástica, nos dirigimos a los aspectos estructurales de la imagen-texto, analizando los efectos de sentido que el lenguaje visual crea en el objeto. Basándose en los avances de la teoría semiótica contemporánea, caracterizamos los modos de ser y de actuar de los sujetos (LANDOWSKI 2009), en interacción con los objetos o con otros sujetos, y cómo producen sentidos, revelando conductas que distinguen regímenes de interacción y sentido. El estudio se dividió en dos fases: 1) lectura estructural de tres libros de imagen elegidos para la investigación; 2) dos acciones distintas de lectura mediadas de los libros de imagen del acervo PNBE 2010, con tres maestras de una escuela pública de Río Grande do Sul y los alumnos de la escuela donde trabajaban. La primera actividad de lectura fue organizada en tres reuniones en las que las maestras podrían reflexionar sobre la lectura del libro ilustrado y el ejercicio de mirar como lectoras. A partir de este ejercicio, las maestras organizaron la segunda acción de lectura mediada, propusieron una mediación de las obras leídas con su grupo de alumnos de la escuela primaria. Estas dos prácticas distintas de lecturas nos permitieron observar las formas de ser y de actuar de los docentes como lectores y cómo estos comportamientos se reflejan o no, de forma recursiva, en la mediación organizada por ellos. Todo este recorrido prácticoteórico- reflexivo nos permitió por último, la quinta parte, definimos algunos principios para un enfoque de letramento visual que tiene el libro de imágenes como un objeto y la lectura mediada como acción.

Style APA, Harvard, Vancouver, ISO itp.

46

Malm, Helena. ""Våga släppa taget" : Det osäkra och det oväntade som potensial i bildundervisning". Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-39526.

Pełny tekst źródła

Streszczenie:

Abstract My objective with this master's thesis is to contribute development both to the education for art-teachers and to art education primary and secondary school. This master thesis discusses three students’ different art-based processes in a visual project about sustainable site-specific design. The project is based on ethnographic documentation of a “non-place” chosen by students themselves. The students are working with visual ethnographic documentation, making pictures in different materials, process-documentations, process-dairy, reception-calls, portfolio-analysis and digital presentation. The project aims reflections over how students can transform their experiences and knowledge, and later, in their role as art teachers, using the visual methods learnt, and using the unexpected and uncertain as a potential, to organize education with primary school pupils. ‘ The purpose of the thesis is to study students learning in, about, and through visual processes in an art-project, where the design of the teaching includes risk-taking elements. To delineate the purpose, I will work on the following issues: 1. What is made visible in students' digital presentations regarding different learning processes, sub-results and final results at the denotative and connotative level? 2. What does the design of the teaching mean for the students’ learning, in relation to the following four problem areas: - Image production with materials, techniques and tools - Image, reception talk and image theory - Documentation, evaluation and assessment - The location, the drawing room and other conditions for picture teaching. 3. Will the unexpected and uncertain as a potential for learning, be made visible in the students' processes, partial and final results? If so, how? This is a qualitative study of three teacher - students' digital presentations. The material in the study includes three teacher students' digital presentations from an exam in an art project; research notes from observations in four course elements; informal interviews with two of the students. All of the three students’ digital presentations start with ethnographic inspired documentations from their chosen “non-places”. These pictures is first analysed, through visual-semiotic analyse. With this result in mind the individual visual processes through different tasks combined with materials analyses with a semiotic gaze and results in three cases followed up with a process-analysis of the three cases. The theoretical context of the study is based on constructionistic theoretical perspective and semiotics as a theory of analysis, problematising the four aspects of the learning-field of art-education, identified in the thesis’ systematic research overview. The aim is to discuss design of education and three students’ experiences of their process-oriented investigative artwork. A work based on divergent thinking, where processes and results are not predetermined and where neither students nor teachers can anticipate them and thus have to dare to let go, which is why the study wants to highlight the unexpected and uncertain potential in image education. The result shows three students’ different visual processes, both in what drove and inspired them, and how they worked in visual materials. It shows that the concept in the design of the task challenged the students to explore the unsecure and the unexpected. Through their artwork and the studies four aspects design of education in teacher education and compulsory school were problematised and several new questions about education in art were raised.

Style APA, Harvard, Vancouver, ISO itp.

47

Fernandes, José David Campos. "Processos linguísticos no cartaz de guerra: semiótica e gramática do design visual". Universidade Federal da Paraíba, 2009. http://tede.biblioteca.ufpb.br:8080/handle/tede/8432.

Pełny tekst źródła

Streszczenie:

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-07-25T14:16:27Z No. of bitstreams: 1 arquivo total.pdf: 3486423 bytes, checksum: 52118712b32c8005e2fbc43619ef2ac0 (MD5)
Made available in DSpace on 2016-07-25T14:16:27Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 3486423 bytes, checksum: 52118712b32c8005e2fbc43619ef2ac0 (MD5) Previous issue date: 2009-03-12
Images produce and reproduce social relations, communicate facts, disclose events and interact with their readers with a force similar to a text made up of words. How eminently imagery gender, the poster, as well as an understanding also requires in its texture a process of persuasion, built by a producer to win your reader. In it, a chain of verbal and non-verbal elements arranged in a paper surface is permeated by strategies that most often go unnoticed by the average reader. Anchored in this perspective, this study aimed to verify the representations of non -verbais elements in this genre are structured in order to influence the look, the reading and the seizure of the messages printed on it. The corpus collected in specialized electronic ments, consisted of a poster produced by the British government, to recruit soldiers during the First World War, and those with whom it maintains dialogue conveyed after its publication. Methodologically, entwined: i) the studies developed by Charles Sanders Peirce (1974), in particular, the different categories and own laws organization of signs; ii) the functionalist approach to grammar of visual design proposed by Kress and van Leeuwen (2000), for whom there is in imagistic texts, a representational metafunction (describes the participants in an action), an interactional (sociointeracionais describes the relationships built by the image ) and other compositional (who combines its entirety); iii) Bakhtin's perspective of the sign, taken in its ideological aspect. The analysis confirmed the hypothesis that the visual code, as well as verbal language has its own forms of representation, in that builds relationships and interactional is meaningful relationships from their architecture. In this sense, it is said that the war poster is a semiotic whose wealth today needs to be explored, since its engineering responds to an arsenal of multiple possibilities presented by technological advancement of information and communication - due to occupy various spaces in world - but little has attracted the interest of linguistic research. Ultimately, the investigation brought to light how these posters were used by several leaders of different countries, as a tool to "sell" the idea of war for the population. It can be said then that the posters studied establish a text physical contact with the reader-observer, who performs the critical activity of disclosure in relation to reading, in search of seizure of precalculated meanings and horizons by the producer of these printed genres.
Imagens produzem e reproduzem relações sociais, comunicam fatos, divulgam eventos e interagem com seus leitores com uma força semelhante à de um texto formado por palavras. Como gênero eminentemente imagético, o cartaz, além de uma compreensão, também requer em sua textura um processo de persuasão, construído por um produtor para conquistar seu leitor. Nele, uma cadeia de elementos verbais e não-verbais dispostos na sua superfície de papel é permeada por estratégias que, na maioria das vezes, passam despercebidas pelo leitor comum. Ancorado nessa perspectiva, este estudo buscou verificar como as representações dos elementos não -verbais neste gênero estão estruturadas de modo a influenciar o olhar, a leitura e a apreensão das mensagens nele impressas. O corpus, recolhido em sitos eletrônicos especializados, constituiu-se de um cartaz produzido pelo governo britânico, para recrutamento de soldados durante a primeira guerra mundial, e aqueles com os quais ele mantém diálogo, veiculados após sua publicação. Metodologicamente, entrelaçaram-se: i) os estudos desenvolvidos por Charles Sanders Peirce (1974), notadamente, as diferentes categorias e leis próprias de organização dos signos; ii) a abordagem funcionalista da gramática do design visual proposta por Kress e van Leeuwen (2000), para quem há, nos textos imagéticos, uma metafunção representacional (descreve os participantes em uma ação), uma interacional (descreve as relações sociointeracionais construídas pela imagem) e uma outra composicional (que combina seus elementos); iii) a perspectiva bakhtiniana do signo, tomado em seu aspecto ideológico. A análise confirmou a hipótese de que o código visual, assim como a linguagem verbal, possui formas próprias de representação, na medida em que constrói relações interacionais e constitui relações de significado a partir de sua arquitetura. Nesse sentido, diz-se que o cartaz de guerra é um manancial semiótico cuja atualidade precisa ser explorada, posto que sua engenharia responde a um arsenal de múltiplas possibilidades apresentadas pelo avanço tecnológico da informação e da comunicação – razão de ocupar os mais variados espaços no mundo –, mas pouco tem despertado o interesse da pesquisa linguística. Em última instância, a investigação realizada trouxe à tona como os referidos cartazes foram usados por diversos líderes, de países distintos, como ferramenta para "venderem" a ideia da guerra para a população. Pode-se afirmar, então, que os cartazes estudados estabelecem um contato físico do texto com o leitorobservador, que executa a atividade crítica de desvelamento em relação ao que lê, na busca da apreensão de significados e horizontes pré-calculados pelo produtor desses gêneros impressos.

Style APA, Harvard, Vancouver, ISO itp.

48

Gonsales, Flavia Igliori. "A Cor no Branding: um estudo sobre design de marca e comunicação visual estratégica". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-12072018-172911/.

Pełny tekst źródła

Streszczenie:

Esta tese investiga a relação simbólica entre cor e marca, manifestada na comunicação visual estratégica marcária, e os vínculos de sentido que (co)produz junto aos públicos. Os objetivos são: identificar, analisar e classificar os modos em que as cores significam marcas (os potenciais efeitos da cor sobre os indivíduos-consumidores) e os usos estratégicos da cor, pelas marcas (as funções para as quais as marcas utilizam as cores) e, relacionando os modos e os usos, propor uma tipologia dos discursos cromáticos de marca, inspirada na tipologia semiótica do discurso, de Charles W. Morris (1946). A literatura transdisciplinar acadêmica e de prática de mercado foi combinada com os achados da pesquisa de campo - entrevistas em profundidade (com especialistas em comunicação, gestão e design de marcas), visitas de observação e coleta de artefatos físicos e digitais. Foram delimitados cinco modos da cor significar uma marca (atentivo, designativo, apreciativo, prescritivo e transformativo) e quatro principais usos que as marcas fazem das cores (informativo, avaliativo, incitivo e sistêmico). Ao final, foram distinguidos e exemplificados 13 tipos de discursos cromáticos de marca, conforme o modo e o uso proeminentes, que se revelaram interdependentes e não excludentes
This thesis investigates the symbolic relationship between colors and brands, manifested in strategic visual communication, and the signification it (co)produces with the audience. The research purposes are to identify, analyze and classify the modes in which colors signify brands (the potential effects of color on consumers) and the strategic usages of color by brands (the purposes for which brands use colors) and, relating the modes and the uses, to propose a typology of brand chromatic discourses, inspired in the semiotic typology of discourse, by Charles W. Morris (1946). The transdisciplinary academic and industry literature was combined with the field research findings - from in-depth interviews (with brand communicators, managers, and designers), participant observations, and physical and digital artifacts collection. Five color modes of signifying a brand (attentive, designative, appraisive, prescriptive and transformative) and four primary color usages by brands (informative, valuative, incitive and systemic) are distinguished. Finally, 13 types of brand chromatic discourse, interdependent and non-exclusive, are delineated and exemplified, according to their dominant signification and use.

Style APA, Harvard, Vancouver, ISO itp.

49

Safiabadi, Nazanin. "Visual communication elements in fresh milk labels: Investigating purchase decision-making processes in Australia". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/96102/1/Nazanin_Safiabadi_Thesis.pdf.

Pełny tekst źródła

Streszczenie:

This thesis is focused on the importance of packaging design for fresh milk in Australia. The purpose of this research is to investigate the relationship between visual communication elements in milk package labels, their related marketing strategies, and the perception of the consumer in relation to their purchase decision-making. This investigation is based on the semiotic analysis of visual design elements in existing milk labels as well as those created during a participatory design workshop with consumers. This study, therefore, examines the potential of visual design to define positioning strategies to attract specific consumer groups at the point of sale.

Style APA, Harvard, Vancouver, ISO itp.

50

Rudolphson, Filip, i Anton Mannerdahl. "Ord skapar mening, tecken skapar film : En undersökning om semiotiska teckens betydelse för ett berättande i en spelfilm". Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14711.

Pełny tekst źródła

Streszczenie:

Detta kandidatarbete undersöker och granskar uppbyggandet av ett berättande i en spelfilm. Syftet är att få kunskap om vad ett berättande i en spelfilm består av och vad det är som påverkar det. Genom semiotikens tecken får vi förståelse för hur allt kan få en mening och sedan användas för att kommunicera något till användaren. Begreppet multimodalitet har sedan använts för att förstå hur tecken fungerar när de behöver samspela med varandra. Vi undersöker berättandet genom att göra en egen spelfilm som vi sedan analyserar för att bättre förstå vikten bakom de val av tecken vi använde och hur berättandet påverkades av våra val. Vi kommer att presentera resultatet vi uppnått, vilka motgångar vi stött på och andra diskussioner kring resultatet.
This bachelor thesis examines the construction of a narrative in a fictional film. The purpose is to acquire knowledge of what a narrative in a fictional film consist of and what it affects. Through the sign of semiotics, we get an understanding of how everything can get a significance and then be used to communicate something to the user. The concept of multimodality has then been used to understand how signs work in an interplay with each other. We examine the narrative by making our own fictional film that we then analyse to get a better understanding of the importance of the signs we used and how the narrative was influenced by our choices. We will present the results we achieved, the types of adversities we encountered and other discussions about the outcome.

Style APA, Harvard, Vancouver, ISO itp.

Rozprawy doktorskie na temat „Visual semiotics”

Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych