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1
Rouhani, Esfahani Mina. "Représentation des femmes dans l'argenterie sassanide du IIIe au VIIe siècle : une approche iconographique." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0618.
Повний текст джерелаАнотація:
L’étude de la représentation des femmes sur les objets d’art de l’Iran Sassanide (224-651 EC) a signifié à la fois un défi considérable mais a suscité en même temps beaucoup de plaisir et de curiosité. Au cours des quatre siècles sassanides, on constate une augmentation des représentations féminines sur les vaisselles en argent notamment à la fin de cette période. De plus, cette iconographie a évolué de façon beaucoup plus significative que sur toute autre source artistique à cette époque telle que les bas-reliefs, les sceaux et cachets, les monnaies, les mosaïques, les stucs et les figurines.Le volume I (texte, illustrations) étudie sur trois chapitres les représentations des femmes sur les argenteries puis compare leur iconographie avec celle des autres objets d’arts. Le volume II est constitué du catalogue reprenant les documents des représentations féminines sur l’argenterie Sassanide du IIIe siècle au VIIe siècle (61 objets en argent). Une annexe comporte les explications supplémentaires, les tableaux et les figures pour soutenir les chapitres de Volume IThe study of women representations on works of art from Sasanid Iran (224-651 CE) has not only meant a tremendous challenge subject but also a source of pleasure and curiosity. During the four Sassanid centuries, the female representations on silver vessels have increased especially at the end of this period. The relevant iconography on vessels have significantly changed more than on any other artistic sources of this period such as the rock reliefs, seals, coins, mosaics, stucco and figurines.Volume I (text, illustrations) in three chapters, studies women representations on silver vessels and addresses the comparison of its iconography with other works of art of this period.Volume II is the catalog of iconographic documents on women representations on Sassanid silver vessels from the 3rd to the 7th century (61 silver objects).An appendix contains additional explanations, tables and figures to support the chapters of Volume I
2
Cohen, Golda. "Les représentations sociales du médicament : une perspective iconographique." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30093/document.
Повний текст джерелаАнотація:
Le médicament est un objet social qui est au coeur de diverses relations matérielles et symboliques. Pour connaitre les formes d’opinions et de savoirs qui lui sont associés au sein de la population française, nous avons mobilisé le cadre théorique des représentations sociales. En raison de la propagation massive des images dans les nouveaux médiums de communication, nous avons choisi d’aborder les différentes recherches qui constituent ce travail de thèse sous l’angle de la perspective iconographique. A ce titre, nos investigations s’articulent autour de deux axes : Le premier axe (N=946) s’intéresse à l’implication de l’imagerie mentale dans la formation de la représentation sociale du médicament. Les trois recherches réalisées en ce sens nous permettront de constater le caractère collectif de l’imagerie mentale, encourageant ainsi la recherche sur les images. Le second axe (N=615) se focalise quant à lui sur les processus mobilisés par les individus quand il s’agit de sélectionner, mémoriser et comprendre des images relatives à des associations prototypiques de la représentation sociale du médicament. Les résultats obtenus suggèrent le développement d’une méthodologie avec les images. Dans leur ensemble, les travaux invitent le lecteur d’une part, à considérer l’importance des représentations sociales dans l’exercice de décryptage des images visuelles, d’autre part, à approfondir l’iconographie dans la perspective méthodologique de la théorie des représentations socialesThe medicine is a social object that is at the heart of many material and symbolic relationships. In order to know the opinions and knowledge associated with it within the French population, we mobilized the theoretical framework of social representations. Due to the massive spread of images in new mediums of communication, we chose to limit the research that constitutes this PhD in the iconographic perspective. As such, our investigations revolve around two axes: The first axis (N = 946) is concerned with the involvement of the mental imagery in the formation of social representation of the medicine. The three investigations carried out with this focus allowed us to observe the collective nature of mental imagery, encouraging research on the images. The second axis (N = 615) focuses in the processes mobilized by individuals when it comes to selecting, memorizing and understanding the images associated with the prototypical words of the social representation of the medicine. The results suggest the development of a methodology with the images. As a whole, the investigations invite the reader on one hand, to consider the importance of social representations in the deciphering of visual images, on the other hand to dig deeper in the iconography of the methodological perspective of the theory of social representations
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Sarrasin, Francine. "La representation des instruments de musique : iconographie de la vie culturelle au canada." Paris, EHESS, 1986. http://www.theses.fr/1986EHESA112.
Повний текст джерелаАнотація:
Ma these porte sur la representation des instruments de musique dans l'art canadien. Plus de trois cents oeuvres (peintures, gravures, dessins) ont ete prealablement repertoriees dans les grands musees de l'est canadien (ottawa, montreal, quebec, toronto. . . ). Bien qu'incomplet, cet inventaire a servi d'element declencheur pour la repartition des divers chapitres et le travail analytique. Sur le plan methodologique, l'etude du "comment" de la representation, associee au caractere specifique du motif choisi (instrument de musique), ouvre le champ d'intervention a plusieurs disciplines. L'iconologie comme methode de base rejoint, au niveau des oeuvres, les connotations historiques et sociologiques de meme que les references musicales, ethnologiques et philosophiques. La demarche multidisplinaire et l'analyse comparative permettent de capter au mieux la polysemie du sujet traite. Une des hypotheses de base est que l'instrument de musique, comme motif iconographique, est, d'emblee, porteur de signification culturelle. Il s'avere que le caractere "canadien" se livre davantage avec le contenu des trois premiers chapitres: -l'instrument des fetes et rejouissances populaires: le violon de violoneux; - les instruments de plein air: la fanfare britannique et la musique amerindienne; - la femme pianiste. Les trois derniers chapitres, plus universels de contenu, revelent l'artiste et la pensee avant le documentaire. Il s'agit de: -l'instrument de musique dans le portrait; -le symbolisme de l'instrument de musique: de la mythologie au decor d'eglise; -instrument de musique et vie silencieuse: objet de nature morte. Jouant dans les premieres scenes, l'instrument montre devient de plus en plus silen- cieux a partir du chapitre sur le portrait. La musique qu'il faut entendre passe a- lors tres souvent au sein de la representation plutot que dans le motif montre. Il y a donc, sur le plan de la musique, un chiasme entre le represente et la repre- sentationMy thesis is based on the analysis of musical instruments in canadian works such as paintings, drawings, etchings. . . I have previously listed more than three hundred of the latter from the great eastern canadian museums (national gallery of canada, fine arts museum of montreal, museum of quebec, royal ontario museum. . . ). This inventory is not exhaustive but significant enough to layout the different chapters and set off the process of analysis. On the methodological point of view, the study of the different kinds of representations and the specific character of the chosen iconographic theme (the musical instrument), extend the area of my investigations. The iconology remains the principal way of my intervention but is frequently linked with the historical or sociological study, with the musical, ethnological or philosophical reference. The use of several methods of working in different specialized fields is a good way to circumvent the polysemic meaning of the subject which is concerned. One of the basic hypotheses is that the musical instruments, as figured in paintings, reveal something about the cultural reality. The canadian specification expresses itself principally with the instruments of the three first chapters: the instrument used in merrymaking: the fiddler's violin; -the instruments played outdoors: the military brittain wind-band and the indians' music; -the woman pianist. The three last chapters discuss a more universal subject. They are about the musical instrument in the portrait, the symbolism of the mythological lyre and of religious instruments and about still-life. The musical instruments which are played on in the first scenes become progressively silent. About this music, the representation takes over from which is represented
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Ukmar, Victor Alexander. "The Photographic Representation of Refugees." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21902.
Повний текст джерелаАнотація:
This thesis tries to shed light on the visual portrayal of refugees within German and the British newspapers during the European refugee crisis in 2016. Furthermore, a visual autoethnography of my own refugee photography complemented this study.Through the analysis of 80 newspaper photographs from Germany and Britain (quality press & tabloids), as well as nine of my own pictures, the following research questions had to be answered:Q1: How were refugees photographically represented in German newspapers (quality press & tabloids) during 2016?Q.2 How were refugees photographically represented in British newspapers (quality press & tabloids) during 2016?Q.3 How was I, as an amateur photographer, indirectly influenced in my own photographic portrayal of refugees by contemporary media.The analysis was conducted by coding all images into different visual categories, while observing reoccurring patterns and visual styles. Furthermore, the icnonographic-iconologic image framework was used for an in-depth review of certain newspaper images (each representing a different newspaper) and for two pictures of my own photography in an autoethnographic manner.The findings suggested that women and children were predominantly featured in both, German and British newspapers. German quality press focused on the representations of state control and on the integration of refugees. Furthermore, German tabloids did not refrain from very graphic imagery.British press featured a high number of pictures with women and children, while no representation of refugee integration could be found. Furthermore, the most notorious British tabloid seemed to portray a rather negative and partially criminal image of refugees.My own photography indicated a strong influence of commonly usedrefugee motifs. Thus, a subconscious reflection of international newspaper photography could be identified.
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BARRY, YAYA. "Representations of British Salafi Responses to the 7/7 Bombings : An Iconographical Analysis." Thesis, Uppsala universitet, Teologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-230208.
Повний текст джерелаАнотація:
Mainstream media has markedly depicted Salafism in quite monolithic ways, giving an impression of uniformity in ideology and practice of this community. This picture has moreover been framed in particularly negative ways when destructive phenomena like transnational terrorism, violent Jihadism and radical insurgency are closely associated with the movement. I decided to study how British Salafist responses to the London 7/7 bombings have been represented. The aim has been to study how such an atrocious act with the capacity to divide society has stimulated the will to live in peace or conflict; and moreover, I aim to look at how these responses have been portrayed by Salafis themselves over against the depictions given by mainstream media. I have however chosen to focus on the visual iconographic representations of these responses because I found them intriguing: “a picture paints a thousand words.” The thesis conducts a critical discourse analysis of these visual representations of Salafist responses to 7/7.
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Gubel, Éric. "Phoenician furniture : a typology based on Iron Age representations with reference to the iconographical context /." Leuven : Peeters, 1987. http://catalogue.bnf.fr/ark:/12148/cb36149936v.
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Lavigne, Philippe. "Représentations et significations du mythe de l'âge d'or dans les arts figurés (XV - XVIIIème siècle)." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30059/document.
Повний текст джерелаАнотація:
Des origines de l'Histoire au lieu commun qu'il est aujourd'hui devenu, le mythe de l'Âge d'Or occupe une place singulière dans l'imaginaire collectif. Sans héros ni intrigue, synonyme d'une existence idéalisée, d'un état de plénitude, tout à la fois ancré dans le passé et l'avenir, il fournit à la littérature, à la poésie, à la philosophie, la possibilité de maintes réflexions sur l'humaine condition. Pourtant, dans le domaine des arts figurés, rares en sont les expressions avant les premiers soubresauts de la pensée moderne. La Renaissance – dont la dénomination même prend alors tout son sens – s'attachera à fixer des codes iconographiques toujours en vigueur. Les représentations d'une humanité insouciante, s'égayant par la nature ou festoyant, n'en recèlent pas moins toute la richesse de leurs pendants littéraires, de Virgile et d'Ovide notamment. Ainsi, l'Âge d'Or mis en images, sous couvert d'apparente simplicité, renvoie à des significations souvent mêlées qui ont trait à la politique, à la religion et à la morale. Considérées dans la sphère européenne, entre le XVème et le XVIIIème siècle, ces interprétations révèlent cependant des approches quelque peu différentes, qui reflètent peut-être des dissensions plus profondesFrom the origins of history to the commonplaces it has become today, the myth of the Golden Age takes up a peculiar place in the collective psyche. Without a hero or a plot ; synonymous with an idealized life and a plenitude state, deep-rooted in the past and the future at the same time, it provides literature, poetry and philosophy with umpteen thoughts about the Human Condition. Yet in the field of the figurative arts, the expressions of the first starts of the modern thought are scarce. The Renaissance – whose very denomination make sense then – will pay a particular attention to set iconographic codes which are still in force. The representations of a cheering up or entertaining careless mankind show all the richness of their literary counterparts, from Virgil to Ovid in particular. Thus, under the cover of a conspicuous easiness, the pictured Golden Age send back to often mixed significations wich refer to politicics, religion and morals. However, if considered in the European sphere between 15th and the 18th century, these interpretations show some slightly different approaches which may reflect some deeper dissentions
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Venorsky, Sarah Jean. "VISUAL REPRESENTATIONS OF ADAM AND EVE:AN ICONOGRAPHICAL STUDY OF MEDIEVAL AND RENAISSANCE IMAGES CONCERNING GENESIS 1-3." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470076561.
Повний текст джерела
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Robinson, T. P. E. "Cords of time : an iconographic analysis of the flat two dimensional knot in the context of classic period Maya representation." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1427442/.
Повний текст джерелаАнотація:
In his book 'A Study In Maya Art And History: The Mat Symbol', Robicsek draws our attention to what he considers to be a well-defined group of motifs represented on Maya artifacts, and which he diagnoses as mat symbols (Robicsek 1975: 17). Robicsek identifies forty three varieties of mat-symbols which he organizes into four sets based on their design (Robicsek 1975: 186). The first design ‘consists of two bands of equal lengths twisted around each other’ (Robicsek 1975: 187), whilst the second conforms to the first design except that the twists are ‘enclosed within a medallion-like frame’ (Robicsek 1975: 187). The third design is an ‘interwoven design, which shows not only simple twists, but also a more intricate “in-and-out” pattern’ (Robicsek 1975: 187). The fourth he terms a ‘decorated design’ resembling the first with the exception that ‘circular motifs’ (Robicsek 1975: 187) are shown as attached to the twists. The third set, the motifs with an interwoven design are the items which interest me and which form the subject of this research. I have identified these motifs as representations of knots and propose that they should be categorized―based on their shared characteristics which I describe in Chapter Four―as members of a particular type of knot. The focus of this research is therefore not Maya knots per se but rather a particular knot type characterized by an interwoven design. Knots are constructed from perishable material, which does not survive in the archaeological record; therefore my dataset comprises representations of knots pictured on different media such as ceramics, sculpture, monuments and architecture. Because knot representation is richest in the Classic Period, this is the time period on which my research focuses. I propose that how or where this particular knot type was displayed was not arbitrary, but rather reveals intentionality; the implication is that knot motifs were vehicles for the communication of certain ideas or concepts and as such were infused with meaning. This position is supported by the research set out in Chapter Three which looks at the use of knots by different cultures over time and through space. Recovering meaning involves an analysis of the relationship between the knot representations and the items or personages, such asthrones or deities, which display the knots. Also entailed is a consideration of when (the date of the representation) and where (which sites), the knots were displayed. By means of these analyses an understanding is gained of the knot, based on its relationship with people and things over time and through space. The identification of one group of Robicsek’s purported ‘mat motifs’ as knots serves to open the door to more rigorous analysis. As a first step in unraveling and deconstructing Robicsek’s ‘mat symbol’ hypothesis, it is hoped that this work will inspire further research on the remaining motifs which are still erroneously interpreted as ‘mats’.
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Fraser, Charikleia Konstantina. "The iconography of late Anglo-Saxon kingship representations of kings Æthelstan, Edgar, and Cnut in three illuminated manuscripts." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/32212.
Повний текст джерелаАнотація:
This thesis examines the iconography of Anglo-Saxon kingship through analysis of three late Anglo-Saxon prefatory manuscript illuminations. The compositions of these pictures are considered in detail and reinterpreted with reference to theological ideas of the period. The miniatures depict King Æthelstan holding an open book, King Edgar a closed book and King Cnut holding onto a cross. The crowned kings are depicted standing respectfully before sacred and divine authorities. Comparison of the prefatory miniatures in question with analogous compositions in Anglo-Saxon, Carolingian and Ottonian manuscript illumination reveals a variety of visual sources used to suggest ecclesiastical and divine sanction for the monarchs and their policies. An assessment of medieval textual sources is used to aid interpretation and understanding of the iconography associated with later Anglo-Saxon kingship. Historical and political issues are fully taken into consideration, an assessment of the propagandistic aspects of the iconography forming an important aspect of this. In evaluating the iconography of the Anglo-Saxon monarchy, the thesis focuses on the following themes: intercession and liturgical commemoration; coronation ceremonials; the interaction of monarchy with the Church; the use of biblical texts as a model for the practice of kingship, the relevance of increased literacy for safeguarding the upholding of good government; the tradition of donations to the Church. The thesis argues that the presence of the patron saints of the monastic foundations standing next to the Anglo-Saxon kings suggests scenes of intercession with strong overtones of salvation. The iconography of the three prefatory miniatures does not only record actual events of presentation, but manifests the spirituality, real or implied, of Anglo -Saxon monarchs in order to suggest the anointed king's exclusive relationship with God, assuring him of God's sanction and the salvation of his soul.
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Georgiades, Rebecca Elise. "Facing Fear: Exploring the Representation of Fear in Athenian Vase-painting from the 7th – 4th centuries BC." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26366.
Повний текст джерелаАнотація:
Although emotions, particularly fear, have biological foundations, they are by no means entirely universal and are significantly shaped by the surrounding cultural and social contexts where they are expressed. This thesis is primarily a qualitative and iconographic study of the expression of emotion, specifically fear, in ancient Athenian vase-painting during the 7th – 4th centuries BC. It uses multiple systems of inquiry drawn from classical historical analysis, art history and anthropology to achieve an extensive understanding of the relationship between emotion, materiality and the cultural framework these images operated within. This thesis analyses the use of gesture, posture and facial expressions in visual imagery, to explain how and why fear was represented. By examining specific topographies of fear, such as the realm of mythical and monstrous creatures as well as settings of warfare and human violence, this thesis demonstrates the role of fear-filled imagery in sharing and reinforcing ideas about culture, gender and status within Athenian society.
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PARAVRE, DOMINIQUE. "Le disque solaire aile dans les representations figurees du proche-orient ancien au iie et ier millenaires : recherches sur l'image." Université Marc Bloch (Strasbourg) (1971-2008), 1988. http://www.theses.fr/1988STR20047.
Повний текст джерелаАнотація:
Part, la codification permet de distinguer 3 types majeurs : les types egyptisant, orientaux sans volutes et orientaux a volutes, qui caracterisent respectivement le levant et l'empire achemenide; cherche : l'espace figuratif ; materiaux et techniques ; la notion (disque aptere, oiseaux eployes); les relations entre l'image et3 major types : those close to egyptian models; those properly eastern and without volutes; those properly eastern and voluted. Empire; mesopotamia; the hittite and neo-hittite areas. On the fields of research : figurative space; materials and technics; (disk without wings, spread birds); the links between image and
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Simões, Diana Margarida Rocha. "Arquiteturas na criação artística moderna e contemporânea." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/15267.
Повний текст джерелаАнотація:
Tese de Doutoramento em Arquitetura, com a especialização em Teoria e história, apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor.O presente estudo insere-se na área da História e Teoria da Arquitetura, e pretende reunir elementos iconográficos que possam servir aos arquitetos como instrumento útil, formal e de conhecimento, na criação arquitetónica, conciliando uma componente artística. Ao longo da história da representação da Arquitetura na Arte, desde o Período Moderno à Arte Contemporânea, observam-se mutações semióticas na evolução da Pintura de Arquiteturas, até à instalação contemporânea. A partir das primeiras instalações artísticas, tem-se mantido a necessidade de representação da Arquitetura na Arte, fixando aspetos da sua iconografia e dando lugar a simulacros tridimensionais. Para um estudo da iconografia da Arquitetura na Arte, como ferramenta útil à criação arquitetónica, debruçámo-nos sobre temas, técnicas e mecanismos contemporâneos, aplicados na instalação artística, procurámos compreender as motivações de vários autores, a partir dos estudos de caso selecionados. O estudo foi repartido em quatro capítulos, sendo o primeiro direcionado para a retrospetiva histórica da evolução da representação arquitetónica na Arte Moderna. O segundo consagra conteúdos herdados na Arte Moderna, como o conceito de Inquietante Estranheza Freudiana e a interpretação de processos de criação artística contemporânea. O terceiro apresenta casos de estudo selecionados em que são observadas as temáticas subjetivas de cada autor, e por fim, no quarto capítulo, é elaborada uma análise comparativa sobre as iconografias das estrutura materiais espacializantes, resultantes dos casos de estudo apresentados no capítulo anterior . Foi dado especial ênfase à noção de arquitetura como um corpo, à importância da forma da espiral, à representação de espaços domésticos e a soluções iconográficas que derivam do molde ou materiais da Arquitetura, presentes nas obras de Louise Bourgeois (1911-2010), Anselm Kiefer (1945-...), Rachel Whiteread (1963-...), Carlos Bunga (1976-...), Ana Vieira (1940-2016), entre outros.
ABSTRACT: This study falls within the purview of the History and Theory of Architecture and aims to gather together iconographic elements which can serve architects as a useful and formal knowledge-based tool for architectural creation, incorporating an artistic component. Many semiotic changes have been witnessed in the evolution of Architecture Paintings over the course of the history of representing Architecture in Art, from the Modern Period to Contemporary Art, up to contemporary installations. The need to represent Architecture in Art has been maintained from early artistic installations, incorporating aspects of its iconography and giving rise to three-dimensional effigies. In order to examine the iconography of Architecture in Art, as a useful tool for architectural creation, this study examines contemporary themes, techniques and mechanisms, as applied in artistic installations, with a view to understanding the motivation of various authors, based on the selected case studies. This study has been divided into four chapters, the first of which encompasses a retrospective history of the evolution of architectural representation in Modern Art. The second chapter focuses on inherited contents in Modern Art, such as the Freudian concept of The Uncanny, and the interpretation of processes of contemporary artistic creation. In its turn, the third chapter presents selected case studies and the final chapter contains a comparative analysis of the iconographies resulting from the case studies presented in the previous chapter. There is a special emphasis on the notion of architecture as a corpus, on the importance of the spiral form, on the representation of domestic spaces and iconographic solutions derived from Architectural moulds or materials, evident in works by Louise Bourgeois (1911-2010), Anselm Kiefer (1945-...), Rachel Whiteread (1963-...), Carlos Bunga (1976-...), Ana Vieira (1940-2016), among others.
Programa Operacional do Capital Humano, P.O.C.H. ao Fundo Social Europeu, FSE. e à Fundação para a Ciência e Tecnologia, F.C.T., pela concessão do financiamento da Bolsa de Doutoramento Individual, com Referência: SFRH/BD66700/2009.
N/A
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Granger, Clara. "Héraclès dans l'imaginaire grec : iconographie et procédés de représentation aux époques archaïque et classique." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2140.
Повний текст джерелаАнотація:
Héraclès est une des figures les plus importantes dans la littérature et l’art de la Grèce ancienne et il est le sujet d’une vaste geste aussi complexe que variée. Celle-ci est développée dans les traditions orales et retranscrite dans les textes, ainsi que largement mise en image. Héraclès est énormément représenté dans la céramique attique, qui constitue un support polysémique, rendant toutes les variations que permet sa figure complexe. Déjà la nature d’un vase est susceptible de regards variés, allant de la simple réception jusqu’à une pensée plus élaborée, suivant les occasions et la culture des spectateurs. De plus, Héraclès est le seul personnage de la mythologie grecque à posséder une nature aussi ambiguë, de héros et de dieu. Les imagiers grecs ont donc adapté, sur divers supports, de l’architecture jusqu’aux céramiques, un nombre important de ses exploits, mettant en lumière telle ou telle qualité, souvent en fonction de la nature de l’épisode suscité. Naturellement, le contexte particulier d’une cité, de la situation politique de l’époque et de l’objet en question sont autant de données qui entrent dans l’interprétation des images d’Héraclès aux périodes archaïque et classique de l’Antiquité grecqueHerakles is one of the most important figures in the literature and art of ancient Greece, and he is the subject of a huge mythology as complex as varied. Herakles’ story is developed in the oral traditions and transcribed in the texts, as well as widely put in image. He is profusely represented in attic ceramics, which constitute a polysemic support, making all the variations that allow his complex figure. First, a vase could be seen in differents ways and views : from a simple reception to a more elaborate thought, according to the abilities and the culture of the spectators. Then, Heracles is the only character in Greek mythology who has such an ambiguous nature, of heroes and gods. So the Greek artists have adapted, on various media, from architecture to ceramic, a large number of his deeds, highlighting one quality or an other, depending on which episode is represented. Obviously, in order to interpreting the image of Herakles in the archaic and the classical periods of Greek antiquity, the particular context of a city, the political situation and the object must all be considered
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Schneider, Marie-Alexandra. "Desseins politiques. Représentations iconographiques de la France en Sarre (1945-1956)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040104.
Повний текст джерелаАнотація:
Au lendemain de la Deuxième Guerre mondiale, la Sarre fait l’objet d’un traitement spécifique par les vainqueurs. Détachée de la Zone d’Occupation française, elle devient fin 1947 un territoire organisé de manière autonome et économiquement rattaché à la France. Dix ans plus tard, la Sarre réintègre l’Allemagne. Durant cette première décennie d’après-guerre, la perception de la France évolue. Au gré des années et des formations politiques, la France présente le visage du libérateur ou de l’envahisseur, du partenaire ou de l’adversaire, du protecteur ou de l’exploiteur, devenant le lieu d’un conflit de représentations qui se manifestera de façon patente lors de la campagne du référendum sarrois de 1955 portant sur l’avenir du territoire. C’est l’objet de la présente étude. Afin de préciser l’image de la France en Sarre entre 1945 et 1956, nous emprunterons deux voies : nous analyserons d’une part les représentations véhiculées par la France, aidée du pouvoir sarrois, pour favoriser la réalisation de ses desseins politiques et d’autre part les représentations dissidentes diffusées par les partisans du retour à l’Allemagne pour mettre fin au régime spécial en vigueur depuis la fin de la guerre. Considérant que les images visuelles contribuent largement à forger les images mentales, nous proposons une analyse des représentations iconographiques présentes dans les moyens de communication de masse d’alors, presse et affiches essentiellement, qui ont circulé en Sarre entre l’entrée des troupes françaises à Sarrebruck et la fin de la période de l’autonomieIn the wake of World War II, the Saar was subjected to a specific treatment from the victors. Separated from the French zone of occupation, the territory is managed in autonomy and is economically tied with France from the end of 1947. Ten years later, the Saar returns to Germany. During this first post-war decade, perception of France changes. With the years passing by and depending on the local political forces, official or dissidents ones, France embodies both the face of the liberator and the invader, the partner and the enemy, the protector and the exploiter. France’s image turns into a conflict of representations, which will affect the campaign of the 1955 referendum. This is the main subject of this thesis. In order to determine the way France was depicted in the Saar between 1945 and 1956, we will establish two directions: we will analyse on one hand the depictions France carried out, with the help of the powers in place in the Saar, to subserve its political ambitions. On the other hand, we will study the dissident depictions published by those in favour of a return to Germany to end the special regime that had been in place since the end of the war. Taking into consideration that visual images nourish mental images, we will study iconographic depictions used in the communications means of the time, press and posters essentially, that circulated in the Saar between the arrival of the French troops in Sarrebruck and the end of this period of autonomy
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Drnek, Lindsey R. "Twentieth century Don Quizote : the character's modern pictorial representation and textual liberation." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1396.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Spanish
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Leite, Sílvia Maria Brito Gomes. "A arte do manuelino como discurso simbólico-categorias ordenadoras da imagem do mundo e representação do poder no tardo-medievalismo portugues." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2003. http://dited.bn.pt:80/29955.
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Ramos, José Artur Vitória de Sousa. "O auto-retrato ou a reversibilidade do rosto." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa, 2001. http://dited.bn.pt:80/30041.
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Melo, Ana Maria Botelho de Vasconcelos e. "Imagens do Nordeste brasileiro no século XVII-um discurso visual de apropriação colonial." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 2000. http://dited.bn.pt:80/29434.
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Barrett, Erin Gabrielle. "Art and the construction of early medieval queenship : the iconography of the join royal/imperial portrait and the visual representation of the ruler's consort." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244685.
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Rozestraten, Artur Simões. "A iconografia do portador do modelo de arquitetura na arte medieval." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-20082009-090910/.
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Contrastando com a raridade dos vestígios materiais de supostas maquetes de arquitetos medievais há uma profusão de representações artísticas (mosaicos, afrescos e esculturas) que retratam figuras (Papas, Reis, Príncipes e Santos) portando modelos de arquitetura, particularmente igrejas. Esta pesquisa, apoiada pela FAPESP, concentra-se sobre este motivo artístico da figura portando o modelo de arquitetura relacionando-o à arquitetura real, à representação tridimensional da arquitetura e ao imaginário medieval acerca da criação arquitetônica. Para tanto esta pesquisa identifica, descreve, analisa e interpreta um corpus iconográfico das representações mais significativas do motivo artístico em foco, produzidas entre o séc. VI e o séc. XV na Europa e na Ásia Menor. O estudo iconográfico deste motivo, considerando suas características plásticas, suas possíveis relações formais, e seus aspectos simbólicos, pretende contribuir assim para uma maior compreensão de suas relações com o pensamento acerca da criação do projeto, entre o mundo romano e a Renascença.In contrast with the material vestiges scarcity of the supposed medieval architects three-dimensional models, there is a profusion of artistic representations (mosaics, frescos and sculptures) that show figures (Popes, Kings, Princes and Saints) holding architectural models, particularly churches. This research, supported by FAPESP, concentrates on the artistic motif of the figure holding the architectural model and its relations with real architecture, architectural three-dimensional representation and the medieval imaginary on architectural creation. Methodological procedure identifies, describes, analyzes and interpretates an iconographic corpus of the most significant representations of the artistic motif in focus produced in Europe and Asia Minor, between the fall of the Occidental Roman Empire (AD V) and the Italian Quatrocento. The iconographic study of this motif, considering its plastic characteristics, its possible formal relations, and its symbolic meanings, aims to contribute for a better understanding of its relations with the architectural design thought, between the Roman world and the Renaissance.
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Quental, Joana Maria Ferreira Pacheco. "Ideogramas interactivos-para um estudo dos ícones em interfaces multimédia." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Belas Artes, 2000. http://dited.bn.pt:80/29356.
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Cantarela, Roberta. "Tinturas do drama: imagens e memórias em a Gata em Teto de Zinco Quente." Universidade Estadual do Oeste do Parana, 2011. http://tede.unioeste.br:8080/tede/handle/tede/2527.
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Previous issue date: 2011-04-14This work has the objective of performing a study about the translation of the play Gata em Teto de Zinco Quente (Cat on a Hot Tin Roof), written in 1954, by the American playwright Tennessee Williams and translated into film by the director Richard Brooks in 1958. The drama is focused on the relationship in crisis of the Maggie's voluptuous character, the cat, and her husband Brick, former alcoholic who sexually rejects hers. The conflict climax occurs in the occasion of the Brick s father birthday, Big Daddy, who has cancer in the terminal stage and he is the only one who is unaware of this fact. This situation leads to a discussion about the inheritance sharing. The cinematographic translation takes the play as a starting point, however the screenwriter and director choices point out to different imaginetic interpretations from the play text, not creating, therefore, a copy, but another work. The memory can be analyzed in the base that recreates it through images and objects. At this point, it is important to emphasize the memory role as a centralizer of the images conception and the confrontation between the characters. In this way, this study starts with the images analysis from the base, the father and son conflict scene, related to the memory, which is the essential element in the narrative delineation of the movie. This work takes as theoretical base the comparative literature concerning the meaning buildings in the study of the homonymous narratives and in analogy to other arts such as painting.
Este trabalho tem como objetivo realizar um estudo sobre a tradução da peça Gata em Teto de Zinco Quente, escrita em 1954, pelo dramaturgo americano Tennessee Williams e traduzida para cinema pelo diretor Richard Brooks em 1958. O foco do drama está no relacionamento em crise da personagem voluptuosa Maggie, a gata, e o seu marido Brick, ex-jogador alcoólatra que a rejeita sexualmente. O auge do conflito é deflagrado no dia do aniversário do pai de Brick, Big Daddy, que está com câncer em fase terminal e é o único que desconhece este fato, o que provoca a discussão dos interessados sobre a partilha da herança. A tradução cinematográfica toma a peça como texto de partida, no entanto, as escolhas do roteirista e do diretor apontam para interpretações imagéticas diferentes do texto de partida, criando não uma cópia, mas sim outra obra. A memória pode ser analisada no porão que a recria por meio das imagens e objetos. Sobre esse ponto, é importante ressaltar o papel da memória como centralizador na concepção das imagens e do confronto entre os personagens. Desse modo, este estudo partirá da análise das imagens do porão, na cena do conflito entre pai e filho, em relação à memória, que é o elemento imprescindível no delineamento da narrativa fílmica e tendo como suporte teórico a literatura comparada na construção de sentidos no estudo das narrativas homônimas e em analogia a outras artes, como a pintura.
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Mecsi, Beatrix. "How Bodhidharma came to the East : the visual representations of Bodhidharma in East Asian art, with a special emphasis on the Korean Bodhidharma-paintings and the formation of Bodhidharma's iconography." Thesis, SOAS, University of London, 2004. http://eprints.soas.ac.uk/29369/.
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The founder of meditational Buddhism according to tradition is the Indian born Bodhidharma, whose legendary figure can often be seen in visual art and popular culture of East Asian countries. In my thesis I focus on the visual representations of Bodhidharma, and for the first time, after summarizing the information about him revealed in primary and secondary textual and pictorial sources, I set down a comprehensive study on the formation of the Bodhidharma-iconography, and discuss Korean Bodhidharma-images in a wider context of East Asian images. This thesis introduces Korean Bodhidharma images for the first time in a Western language, and show them together with the already known Chinese and Japanese images. It raises several problems on the identification of these images and brings new evidence on the formation of the Bodhidharma- iconography. It shows how it derived from representations of Daoist immortals and Buddhist arhats. Earlier studies usually consider texts as primary to visual images, but in my thesis, introducing images from the eleventh and twelfth century, I show that in the case of Bodhidharma- iconography visual images had a considerable influence on written texts. Stressing the importance of visual representations of a religious founder in forming further written and visual legends is a new approach which opens new paths to further studies in religious imagery.
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Takimoto, Miwa. "Représenter l’espace habité par les dieux ? La Méditerranée de la mosaïque aux Îles d’Ammaedara (Haïdra, Tunisie)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040006.
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Que cherchent à représenter et à percevoir les Romains, lorsqu’ils décrivent un parcours topographique ou géographique dans le cadre de l’art figuré ? Comment construisent-ils mentalement les déplacements géographiques réels ou imaginaires ? Comment se construit la carte mentale entre l’image et le récit ? La « mosaïque aux Îles » d’Haïdra est un parfait exemple qui nous permet de réfléchir sur ces questions. Elle a été découverte en 1995 sur le sol d’une pièce d’un grand édifice dans le quartier suburbain de la cité antique d’Ammaedara en Afrique proconsulaire. Attribuée à la fin du IIIe ou au début du IVe siècle, cette mosaïque offre la vue d’un espace insulaire avec une série de quinze îles et villes de la Méditerranée orientale et de la Sicile dont douze sont désignées par une légende en latin : Cnidos, Cnossos, Cypros, Cytherae, Egusa, Erycos, Idalium, Lemnos, Naxos, Paphos, Rhodos et Scyros. La représentation des îles et des villes ainsi que la manière de restituer leur succession ne correspondent pas à la réalité géographique, alors que ces zones ont été décrites par les auteurs anciens. Ce travail se propose d’étudier la structuration spatiale, la coordination et le montage des éléments réalistes et imaginaires des lieux dans l’art romain, à partir de cette mosaïque. Il s’agira d’analyser les différentes images qui rendent compte de la dualité à la frontière entre la notion de paysage figuré et celle de la cartographie ; il s’agira également de recueillir dans les sources écrites les descriptions spatiales de la géographie physique et littéraire évoquant un paysage culturelWhat do the Romans aim to represent and perceive when they describe a topographical or geographical trajectory within the framework of figurative art? How do they mentally build real or imagined geographical journeys? How is the mental path created from the image and the narrative? The "Mosaïque aux Îles" of Haidra is a perfect example that allows us to think about these issues. It was discovered in 1995 on the floor of a room in a large building in the suburban district of the ancient city of Ammaedara in Africa Proconsularis. Attributed to the end of the 3rd or the beginning of the 4th century, this mosaic offers the view of an insular space with a series of fifteen islands and cities of the eastern Mediterranean and Sicily, twelve of which are designated by an inscription in Latin: Cnidos, Cnossos, Cypros, Cytherae, Egusa, Erycos, Idalium, Lemnos, Naxos, Paphos, Rhodos, and Scyros. Therepresentation of islands and cities as well as the manner of reconstructing their succession do not correspond to the geographical reality, although ancient authors have described these areas. This work aims to study the spatial structuring, the coordination, and the assembly of the realistic and imaginary elements of places in Roman art, on the basis of this mosaic. The different images that represent the duality at the boundary between the notion of landscape painting and that of cartography have been analysed. Also, the spatial descriptions of the physical and literary geography evoking a cultural landscape have been collected in the written sources
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Dias, Aida Costa de Sousa. "O corpo feminino na escultura dos anos 50 em Portugal-(escultores formados pala ESBAL)." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2000. http://dited.bn.pt:80/29370.
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Rebours, Marie-Alice. "Emprunts à l'anglais dans la terminologie du prêt-à-porter en France : entre distinction et appartenance : Etude sur corpus en diachronie 1952-2019." Electronic Thesis or Diss., Lyon 2, 2023. http://www.theses.fr/2023LYO20091.
Повний текст джерелаАнотація:
La présente thèse consiste en une étude en diachronie de la terminologie du prêt-à-porter féminin dans des catalogues français de vente par correspondance depuis l’introduction du concept en France au début des années 1950. Notre travail est centré sur les emprunts à l’anglais et les créations sous influence anglaise comparativement à la néologie dans l’ensemble de notre corpus.Notre objectif est, d’une part, d’apprécier l’influence de l’anglais dans cette terminologie et, d’autre part, d’appréhender les tendances et mécanismes propres à ce domaine. Par l’étude des néologismes, des nécrologismes et des termes stables de notre corpus, nous examinons le renouvellement terminologique, ses mécanismes et ses motivations.Nous avons travaillé par comparaison de sous-corpus distants de cinq ans environ, chacun composé des catalogues des collections Printemps-Été et Automne-Hiver d’une année donnée. Les termes, collectés et traités manuellement, ont dans un premier temps fait l’objet d’une étude synchronique, à l’aide de sources secondaires, pour établir leur étymologie, leur définition et les catégoriser selon une typologie adaptée de la typologie des emprunts proposée par l’Office québécois de la langue française. Dans un second temps, les analyses diachroniques se sont fondées sur un trépied méthodologique formé des termes du corpus, des visuels des catalogues et d’avis d’experts. Sur le plan théorique, ces analyses se sont appuyées sur des théories issues de la linguistique et de la sociologie, en tenant compte de logiques économiques et d’autres facteurs, tels que des évènements historiques et sociétaux.Ces analyses nous ont permis d’étayer la place de l’anglais dans ce domaine ainsi que l’importance du renouvellement terminologique, fréquemment citées dans la littérature. De plus, au-delà de logiques propres au fonctionnement de la mode, notre corpus a révélé une régularité dans l’activité néologique permettant d’appuyer l’hypothèse d’un renouvellement à fréquence générationnelle. Enfin, nous proposons une réflexion sur la nécessité de travaux – en linguistique notamment – dans le domaine de la mode, compte tenu du manque d’étude sur le sujet et des lacunes des sources dictionnairiquesThis dissertation is a diachronic study of the terminology of women’s ready-to-wear fashion in French mail-order catalogs since the introduction of the ready-to-wear concept in France in the early 1950s. Our work focuses on English borrowings and English-influenced neologisms, compared with neologisms in our corpus as a whole.Our goal is two-fold: we wish, first, to assess the influence of English in this terminology, and second, to delineate trends and mechanisms specific to this field. Based on a study of neologisms, necrologisms, and stable terms in our corpus, we examine terminological renewal, its mechanisms, and its motivations.We compared sub-corpora approximately five years apart, each comprising the catalogs from the Spring-Summer and Fall-Winter collections of a given year. The terms were collected and studied manually. They were first studied synchronically, using secondary sources to establish their etymologies, their definitions, and their types, according to a typology adapted from the Office québécois de la langue française’s typology of borrowings. Secondly, terms were analyzed diachronically using a three-part methodological framework, consisting of the terms from our corpus, of the visuals from the catalogs, and of expert opinions. These analyses drew on theories from linguistics and sociology, while also considering economic and other factors, such as historical and societal events.Our analyses enabled us to show the importance of the English language in this field, as well as the importance of terminological renewal, both frequently cited in academic works. Our corpus demonstrated neological activity that goes beyond the dynamics of fashion and that supports the hypothesis of regular generational terminological renewal. Finally, we propose a reflection on the need for work – linguistic research in particular – in the field of fashion, given the lack of studies on the subject and the shortcomings of dictionary sources
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Leite, Ana Cristina 1959. "O jardim em Portugal nos séculos XVII e XVIII." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1988. http://dited.bn.pt:80/29754.
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Bernadou, Dorian. "La fabrique du récit territorial en Italie, les cas des régions Émilie-Romagne et Latium." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7006.
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Cette thèse propose une analyse du processus de fabrique territoriale engagé par les collectivités régionales italiennes du Latium et de l’Emilie-Romagne et ce à partir du « récit territorial » officiel qu’elles produisent. Cet objet complexe désigne l’ensemble des discours et des documents iconographiques qui confèrent un sens et une image à un territoire administratif tout en légitimant l’exercice du pouvoir à cette échelle particulière. Le corpus analysé comprend à la fois des déclarations politiques, des documents techniques ainsi qu’une sélection de brochures officielles et de traces numériques de ces collectivités territoriales sur les nouveaux médias et les réseaux sociaux, supports majeurs de la production contemporaine des représentations sociales. L’image qui est donnée de la région dépend des finalités des acteurs institutionnels régionaux, des priorités qu’ils ont identifiées mais également des compétences que l’institution exerce. La décomposition de la catégorie des « acteurs institutionnels » a fait apparaître une diversification des acteurs, avec une place croissante accordée aux professionnels de la communication et une intégration progressive des habitants et des usagers du territoire dans cette fabrique du récit officiel. Ce travail analyse également l’impact des variations du contexte d’énonciation et des cibles du discours sur le contenu de ce récit (les référents identitaires mobilisés) et les modalités de construction du récit lui-même. Les évolutions identifiées sont donc le résultat de plusieurs facteurs, qui se pondèrent différemment selon la période et la région considérée. Ces facteurs peuvent être répartis selon deux grandes catégories : internes (le niveau de stabilité du pouvoir politique, la personnalité du gouverneur de région, le temps écoulé depuis la naissance de l’institution mais également l’évolution du tissu productif ou les changements démographiques) et externes (la conjoncture économique internationale, le rythme des réformes imposé par l’Etat, l’évolution des techniques et des supports de communication) l’institution régionaleThis thesis examines the territorial construction process undertaken by the Italian regional authorities of Lazio and Emilia-Romagna, based on the official institutional storytelling they produce. This complex object refers to all the speeches and iconographic documents that provide meaning and image to an administrative territory while legitimising the exercise of the power at the regional scale. The corpus includes political declarations, technical documents, a selection of official place branding brochures as well as digital traces of these local authorities on social media. The image of the region reflects the aims of the regional institutional actors, the priorities they have identified and the competences the institution exercises. The analysis of the category of “institutional actors” reveals an increasing diversification of this group, with a growing prominence of communication professionals and a progressive integration of the inhabitants and users of the territory in the institutional storytelling production. This work also studies the ways institutional storytelling is changing according to the context of enunciation and the targets. The factors explaining these changes depend on the period and region considered. These factors can be internal by the level of political power stability, the personality of the regional governor, the elapsed time since the institution's birth, as well as the evolution of the productive sector or demographic changes. They also can be external: the international economic context, the pace of reforms enforced by the State, and the evolution of communication techniques and media
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Lins, André Gustavo da Silva Bezerra. "Representações de identidades da Cidade Necessária (modelos e configurações urbanas distintas) na iconografia do Recife colonial: planos de Pherman-buquo do ante-bellum à restauração." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-12092011-105620/.
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Apresenta e discute acervo iconográfico com foco no espaço urbano do Recife colonial e reflete se a análise dessa iconografia é suficiente para compreensão de mudanças na identidade urbana ligada a determinado empreendedor ou fase de governo colonial, do lusoibérico ao pós-neerlandês. Mostra através da iconografia, sistema de representação gráfica materializadora de informações e discursos, ser possível a invenção se contrapondo à verdade observada e a outras iconografias. Reflete suficiência da análise iconográfica para compreender mudanças na identidade urbana nas fases de governo luso-ibérico, neerlandêsholandês e pós-neerlandês, de acordo com as necessidades das etapas do empreendimento colonial. Numa inquietação científica, a tese impôs resultado divergente da hipótese inicial, entendendo que para a discussão aprofundada da distinção das identidades nos fatos urbanos e modelos urbanísticos, arquitetônicos e de investimentos, nos períodos de governo, de forma não subjetiva e sem juízos de valor, a leitura e entendimento através da iconografia só se mostrou suficiente a partir de base historiográfica. Esse aprofundamento permitiu questionar convenções sobre a construção da identidade urbana, permitindo superar a metodologia de análise identitária tradicional, passando a utilizar variáveis reais documentadas pela historiografia, respondendo cientificamente à construção do fenômeno urbano. A partir disso, discute a convencionada e subjetiva transplantação identitária, defendendo ocorrência de construção da cidade e sua identidade a partir das variáveis da cidade necessária [ambiente, interesses e, investimento de meio e materiais], passando a perceber as formas distintas de investir e as distintas identidades urbanas resultantes, até dentro de uma mesma fase de governo do empreendimento colonial, por exemplo, diferenciando neerlandeses de holandeses [Nassau] da WIC. Constatou que a cidade foi construída com pragmatismo, na emergência da falta de recursos públicos, das guerras, da falta de logística de meios e materiais, nem condições políticas para intervenção impositiva. Elementos culturais, desenhos e forma de implantação de edifícios e sistema urbano puderam ser transplantados e miscigenados na babel colonial, frente às necessidades e emergências, mas a identidade urbana empreendida foi consolidada no ambiente construído, não como discurso, ou imposição, mas através do saber fazer dos personagens coloniais.This work shows and discuss the iconography heap focalizing the urban space of colonial Recife and reflects if their iconography analysis is enough for the changes understanding in urban identity connected to a specific contractor or colonial government phase, to Lusitian- Iberian from after-Netherlandish. It is showed, by iconography, system of materializing graphical representation of informations and discuss, that is possible the invention be opposed of examined true and another iconographies. This work reflects the sufficiency of iconography analyses to understand the urban identity changes in the Lusitian-Iberian, Netherlandish-Dutch governments and post-Netherlandish, according the level necessities of colonial enterprise. In a scientific inquietude, this thesis imposes a different result of initial hypothesis, understanding that for a deepened discussion of identities in urban facts and urbanistic, architectonic and investment models, in government periods, of a no subjective form and without value judgment, the lecture and understanding by the iconography just showed sufficient by an historiographical basis. This deepening allows to question conventions about the urban identity construction, allowing overcame the methodology oftraditional identity analyses, passing to utilize real variables documented by historiography, answering scientifically to construction of urban phenomenon. From this, it was discussed the covenanted and subjective identity transplantation, defending the occurrence of urban construction and their identity from the necessary city variables (environment, interests and material and mean investments), passing to perceive the different forms to invest and the different urban identities resultant, until into of a same phase of colonial enterprise, for example, differencing netherlandishes from ditches (Nassau) from WIC. It was observed that city was constructed with pragmatism, in emergency of public resources missed, from wars, from logistics missing of means and materials, neither political conditions to an imposing intervention. Cultural elements, draws and form of buildings implantation and urban system could be transplanted and miscegenated in colonial Babel, front of necessities and emergencies, but the undertaked urban identity was consolidated in a constructed environment, not as discuss, or imposition, but by the knowhow from colonial characters.
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Sowley, Katherine Ilsley. "La Tenture de la Dame à la licorne : la figure féminine au service de l'image masculine." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG045/document.
Повний текст джерелаАнотація:
La tenture de la 'Dame à la licorne' est le plus souvent interprétée comme une allégorie des sens physiques, mais son iconographie se distingue par le registre héraldique. Chaque composition s’organise tel un emblème héraldique de sorte que les personnages principaux remplacent l’écu tant du point de vue visuel que fonctionnel. Si cette tenture est fréquemment citée comme un monument à la réussite socioprofessionnel du commanditaire, on n’a jamais cherché à comprendre comment le registre scénique contribue à la représentation du commanditaire. Autre lacune dans le corpus de littérature, l’importance de la figure féminine dans cette image est restée jusqu’alors ignorée. La présente étude propose donc d’étudier la 'Dame à la licorne' et sa fonction représentative en analysant les traditions culturelles, littéraires et iconographiques, ainsi que les réalités sociohistoriques, qui sous-tendent l’image d’excellence sociale que le commanditaire souhaite rattacher à sa personne et à sa familleThe 'Lady and the Unicorn' tapestries are most often interpreted as an allegory of the physical senses, but their iconography is remarkable for its integration of armorial elements. Each composition is organized like a heraldic emblem, such that the main figures replace the coat-of-arms in its position and its function. Though this work is frequently identified as a monument to the patron’s socio-professional success, no effort has been made to understand how the scenes contribute to his personal representation. The lack of interest for the decidedly female character of this iconographic programme is another weakness in previous studies of these tapestries. This doctoral dissertation proposes to examine the 'Lady and the Unicorn' and its representative function by analysing the cultural, literary and iconographic traditions, as well as the socio-historic realities, that shape the image of social excellence the patron constructs in order to represent himself and his family
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Faissol, Pedro de Andrade Lima. "O milagre como fenômeno cinematográfico Anunciação, Cura do Cego, Ressurreição." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-18092018-165139/.
Повний текст джерелаАнотація:
A representação do milagre no cinema é um problema. O seu caráter descontínuo solicita do(a) realizador(a) uma tomada de posição: esconder as marcas das operações fílmicas, camuflando-as em prol de uma transparência, ou explicitar sem disfarces os artifícios empregados. Supõe-se que o milagre no cinema seja mais bem resolvido quando se apresenta frontalmente, expondo as suas fraturas através da exacerbação do meio fílmico. A hipótese acima, de natureza axiológica, será verificada na análise de filmes que tematizam três milagres dos Evangelhos: Anunciação, Cura do cego e Ressurreição. Cada milagre será articulado a um diferente problema de representação. Na primeira parte da tese, estudaremos a Anunciação no cinema à luz dos motivos plásticos herdados de sua vasta iconografia. Na segunda parte, dedicada à Cura do cego, analisaremos as operações empregadas na representação do milagre a partir das questões que se colocam pela figuração da imagem religiosa. Na terceira parte da tese, por fim, a Ressurreição: veremos as estratégias de encenação adotadas em função da crença do espectador na representação.The representation of the miracle in films is a problem. Its discontinuous aspect demands from the director to take a position: to hide the traces from the filmic operations, dissimulating them for transparency purpose, or to underline the effects employed. In this thesis we will argue that the miracle is better represented when it shows itself frontally, exposing its disruptions in the explicitness of the filmic means. In order to verify the axiological hypothesis above, we will analyze several films that stage three miracles of the Gospels: Annunciation, Healing of the blind and Resurrection. Each of them will be articulated to a different representational problem. In the first part of the thesis, we will study the Annunciation in films according to the motifs inherited from its vast iconography. In the second part, dedicated to the Healing of the blind, we will analyze the filmic operations employed and the questions posed by the figuration of the religious image. In the third part of the thesis, finally, the Resurrection: we will see the strategies of staging adopted according to the belief of the spectator in the representation.
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Hirszman, Maria Lafayette Aureliano. "Entre o tipo e o sujeito: os retratos de escravos de Christiano Jr." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-13032013-114903/.
Повний текст джерелаАнотація:
A dissertação examina, a partir de um enfoque multidisciplinar que contempla aspectos estéticos, históricos e antropológicos, as imagens de negros de ganho realizadas por Christiano Jr. em cerca de 1865 no Rio de Janeiro. O objetivo é sublinhar seu caráter contraditório quando colocadas em perspectiva de longa duração. Mesmo sem romper com os padrões estéticos da época, as fotografias de Christiano Jr. introduzem elementos que representam uma diferenciação, uma vez que subvertem certos elementos estruturais da imagem do negro, temáticos e compositivos, quebrando o código de silêncio, ocultamento e disfarce que marca a relação da sociedade brasileira com o tema da escravidão. O trabalho desdobra-se em três movimentos. O primeiro capítulo apresenta uma análise detalhada do trabalho de Christiano Jr., ressaltando sua trajetória e o sistema de consumo e circulação em que suas fotografias se inserem. O segundo caracteriza os padrões tradicionais de representação da figura do negro e das camadas populares estabelecendo relações entre esses gêneros consolidados e as fotografias de Christiano Jr. O último capítulo sublinha uma espécie de fissura no rígido código de representação iconográfica do escravo e propõe que o trabalho do fotógrafo açoriano seja lido não mais como um documento neutro sobre os usos e costumes da época ou apenas como reiteração de um olhar preconceituoso, mas como registro de uma relação complexa entre o fotógrafo e seus modelos, como um elemento constitutivo - e, portanto, carregado de sentidos, mesmo que paradoxais - daquela sociedade que se via às voltas com a crise aguda do regime escravagista.The aim of this work is to examine, from a multidisciplinary approach (aesthetic, historical and anthropological), images of black slaves and black wage earners made by the Azorean photographer Christiano Jr. in mid of the 1860\'s in Rio de Janeiro. The purpose is to emphasize their contradictory character when placed in a long-term perspective. Even without breaking with the aesthetic standards of the period, the pictures of Christiano Jr. introduce elements that represent a differentiation as they subvert certain thematic and compositional structural aspects of images of black labors, thus breaking the code of silence, concealment and disguise that characterizes the relationship between the Brazilian society and the system of slavery. The work develops in three movements. The first chapter presents a detailed analysis of the work of Christiano Jr. highlighting his career and the system of consumption and circulation of his images. The second features the traditional patterns of representation of the figure of the black working classes relating them with the pictures of Christiano Jr. The last chapter stresses a kind of fissure in the strict code of the iconographic representation of the slaves and proposes that the work of the azorean photographer be read not as a neutral document about the uses and customs of the time or only as a reiteration of a biased look, but as a record of a complex relationship between the photographer and his models as a constituent component - therefore charged with meaning - of a society that was itself grappling in an acute crisis of the slavery regime.
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López, Martínez María Itzel. "Representaciones del héroe en los manuscritos ilustrados de Chrétien de Troyes : estudio iconográfico." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/286736.
Повний текст джерелаАнотація:
Los manuscritos ilustrados que conservan las obras de Chrétien de Troyes, poeta del siglo XII y uno de los primeros autores de romans con tema artúrico, permiten formular nuevas hipótesis acerca de la práctica de la lectura en el Medioevo. A partir de un soporte como el manuscrito ilustrado, en el que coexistían la representación pictórica y el texto escrito, leer pudo resultar una experiencia epistemológica compleja, en la que diversas facultades –percepción, imaginación, memoria y razonamiento– colaboraban para vincular las palabras con las imágenes y extraer interpretaciones y significados de dicha relación. Con base en esta premisa, la tesis elucida y plantea la idea de héroe artúrico que cabe derivar de un ejercicio de lectura semejante, es decir, uno que vincule la concepción del héroe en la obra de Chrétien con las representaciones del mismo en las miniaturas de los manuscritos. Lo anterior aporta una nueva concepción del héroe artúrico, a partir de la cual cabe explicar la transformación que se manifiesta en su naturaleza cuando se inserta en el ámbito del roman medieval. Ofrece también elementos generales para el estudio de la figura heroica y sus representaciones.The illustrated manuscripts that preserve the writings of Chrétien de Troyes, Twelfth century poet and one of the first authors of Arthurian romances, may inspire new hypothesis about the practice of reading in the Middle Ages. Based on a material support like the illustrated manuscript, in which pictorial representation and written text coexist, the act of reading could have been a complex epistemological experience, that required the collaboration of different faculties –perception, imagination, memory and reason– in order to relate words with images and to extract significance from this relation. Parting from such premise, this thesis elucidates and sets forth the idea of the Arthurian hero that can be derived from an exercise like the previously described, i.e. one that relates Chretien’s conception of the Arthurian hero with the representations of the courtly knight in the miniatures. This will lead to a new way of understanding the Arthurian hero, which may explain the transformation of his nature in the medieval romances. It will also give general elements for the study of the heroic figure and its representations.
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Pei-ChiChien and 簡佩琦. "The Study of the Intertextuality between Textual and Iconographic Representations of Buddhist Filial Piety in Dunhuang." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/77724572203970378710.
Повний текст джерелаАнотація:
博士國立成功大學
中國文學系碩博士班
101
This research explores the intertextuality between the textual and iconographic representations of the theme of Buddhist filial piety discovered in Dunhuang. The texts discussed in this dissertation are selected according to their relevance to the theme. The wall paintings and scrolls under discussion include Jataka of Shanzi, Jataka of Sujātā, Returning Benevolence Jingbian, Profound Kindness of Parents Jingbian, and Maudgalyayana Jingbian. The paintings discussed in the individual chapters follow the chronological order of their creations. The chapter on Jataka of Shanzi examines the textual and iconographical representations of Shanzi, focusing particularly on the paintings found in Cave 461, which is located in the restricted northern area of Dunhuang and dated to the Northern Zhou Dynasty. The inscriptions on the wall paintings indicate that the textual source of the Jataka of Shanzi is Sutra of Bodhisattva Shanzi. The chapter on Jataka of Sujātā looks into the question whether the jataka is more influenced by its textual sources or by its iconographical heritage. To find the answer, the author compares and contrasts Jataka of Sujātā and the story on filial piety illustrated in Returning Benevolence Jingbian, which derives from the former. The analysis of the intertextuality between the texts and the illustrations reveals that the textual influence is stronger than the iconographic one. This observation is supported by the fact that the variation of the images depends on that of the texts. The chapter on Returning Benevolence Jingbian attempts to explain why only five out of more than thirty stories narrated in the sutra were retained in the jingbian. After close scrutiny, it is suggested that the choice hinged on the affinity between time and space in the stories. In addition, by comparing and contrasting the mural arts in Dunhung and those in Baodingshan in Sichuan, the author proposes an interpretation of the highly debated issue regarding the originality of the mural arts in these two places. The next chapter focuses on Profound Kindness of Parents Jingbian. So far as the texts are concerned, the Sutra on the Profound Kindness of Parents can be classified into four different editions: “Ding Lan edition,” “ancient edition,” “yulan edition,” and “favor edition.” As for the iconography, the author scrutinizes the preserved inscriptions on the scrolls, which yields groundbreaking findings. According to the analysis of the inscriptions, the scroll exhibited in the British Museum is based on the Sutra on the Profound Kindness of Parents. On the other hand, the one exhibited in Gansu Museum is based on Notation to Annotated Ullambana Sutra written by Yu Rong (Master Guangyan) from Sichuan. Even though only one wall painting of Maudgalyayana is preserved in Dunhuang, scholars have been interested in the various texts on Maudgalyayana. In the chapter on Maudgalyayana Jingbian, four different editions of sutras and bianwens are discussed. In addition, Pure Land Ullambana Sutra, a sutra hitherto unlisted in any Buddhist canon, is also discussed. Some scholars consider this Pure Land edition to be the textual source of the Maudgalyayana Jingbian. However, after detailed analysis, it is suggested that the jingbian is actually based on Maudgalyayana Saved His Mother from the Underworld Bianwen. In conclusion, this research discloses the mix-and-match effect of the textual and iconographic representations of filial piety in Dunhuang, which is manifested in the representation and transformation of the texts, the influence of notations, the fusion of themes, and the transmission of texts and iconography. As for the development of the theme of filial piety, the early texts—Jataka of Shanzi, Jataka of Sujātā, and Returning Benevolence Jingbian—focus on filial piety. However, Profound Kindness of Parents Jingbian, a later work, features the parental lamentation for their children’s disregard of their filial duties. Finally, in Maudgalyayana Jingbian, though Maudgalyayana tried to save his mother from the underworld, more focus is placed on karma and the terror of the underworld rather than on filial piety. As a whole, the representations of this theme has changed from having to lacking filial piety, or from the positive to the negative.
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Chou, Ying-Ching, and 周穎菁. "The Study of Representations and Iconography of The Sung Imperial Portraitures." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/85434399456819627093.
Повний текст джерела
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Parker, MA. "Bringing the dingo home : discursive representations of the dingo by Aboriginal, colonial and contemporary Australians." Thesis, 2006. https://eprints.utas.edu.au/1196/2/02Whole.pdf.
Повний текст джерелаАнотація:
My thesis examines the discourse which has encoded the dingo since it arrived in Australia nearly five thousand years ago. While post-colonial theory has exposed the ideological structures and material practices which position indigenous peoples as "other" to the colonisers, most scholars have remained curiously silent when it comes to nonhumans. Animals now stand as the ultimate "other", denied a subjective life of their own, for their behaviour is usually read, as Helen Tiffin argues, "as having primary (and exclusive) significance for humans." The project of this thesis is to examine the narratives within which Australians have "trapped" their dingoes. My methodology takes as its starting point Foucault's theories which connect discourse and power.
The thesis is divided into three sections; Colonial Discourses, Aboriginal Dreaming and Contemporary Configurations. The colonial section asks how discourse forces the dingo to represent human fears and failings. I argue that a denigrating discourse is used to justify the ill treatment of the dingo, that discourse reveals little about the "real" dingo, and that there are similarities in the discursive treatment of dingoes and Aborigines. The thesis also acknowledges the dingo's attempts to slip through the gaps in the discourse "fence".
The second section researches traditional Aboriginal myths of the Dreaming Dingo. By encouraging the dingo to trot back to happier times, I allow the reader to step back also and assess Aboriginal representations of the dingo, arguing that these are based on an empirical knowledge of its habits and nature. I contend that in contrast to a colonial discourse based on difference, the Aboriginal narratives assume similarities to animals and the potential for crossovers. This section argues that a pragmatic Dreaming Dingo teaches humans to live harmoniously and cautiously in an environment which is both nurturing and dangerous.
Finally the dingo returns to the trail and trots into a place where practical knowledge of wilderness is negligible. The contemporary section of this thesis argues that in their longing to claim the dingo and its wildness for their emotional and spiritual needs, urban Australians generate a confused, incompatible and ignorant mix of colonial and Dreaming Discourse. The dingo in the National Park is required to carry an impossible discourse and it fails - biting the hands which feed it.
"Bringing the Dingo Home" reflects an exciting time as one more "other' breaks "the deafening silence" described by Wolch and Emel, and demands a position in post-colonial discourse. At last the discourse of the dingo can be foregrounded and its misrepresentations can be redressed.
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Hallmann-Mikołajczak, Aleksandra. "The Representation of Private Costume in Egyptian Art from the 25th to the 31st Dynasty." Doctoral thesis, 2015. https://depotuw.ceon.pl/handle/item/1136.
Повний текст джерелаАнотація:
The aim of this study is to identify and investigate clothing represented in Egyptian private art between the 25th and 31st Dynasties (ca. 750-332 BC). As such, the thesis fills a gap in the scholarly literature, as there is no existing study that attempts to explain Late Period costume in detail. It is intended to be useful, for both archaeologists and art historians, in the dating of objects as well as to assist them in writing coherent descriptions of clothing.
The work deals with various visual sources, namely, statuary, stelae, reliefs, etc., commissioned by or for private individuals (i.e. non-royal persons). It focuses upon the comparative analysis of the same type of garment represented in both two and three dimensions. To some extent, the study uses other sources, such as preserved textiles and textual evidence. In this context, the work is concerned with the issue of represented versus excavated garments in pursuing the aim of reconciling textile findings with artistic representations of clothing. Therefore, the interaction between material culture and self-representation in Egyptian art is one of the main topics of the dissertation which is bridged thanks to cross-cultural and ethnographic parallels. Similarly, issues of foreign influence, regional changes, as well as tradition, novelty and the phenomena of archaism in Egyptian art, are also considered.
In order to achieve its goals, the study assembles a wide corpus of sources that were primarily analyzed in various museums or at archaeological sites. Drawing on the assembled corpus, a detailed typology of Late Period costume was established. This typology consists of both individual garments and complete sets of attire. The study analyses its representations, chronology of its occurrences, diachronic development, nomenclature in scholarly literature and, if known, in primary sources. In general, the typology is divided into male and female costume. Male garments include various kinds of inner-garments such as kilts, shendyts, sashes, tunics, single-strap undergarments, as well as over-garments such as cloaks and shawls. Female costume, which is less varied, includes different kinds of dresses.
The interpretative part of the thesis analyses Late Period costume against a background of geographical, chronological and social frameworks, and considers to what extent the represented costumes reveal the ethnic status of the wearer. Thus, the study examines whether Egyptian garments were influenced by foreign fashion. The results show that during the Late Period, Egyptians were depicted in costumes of Egyptian origin (not affected by foreign influence), while only individuals of foreign origin were represented in costume that can be identified as foreign and/or ethnic.
The methodologies outlined in this thesis not only establish a typology of Late Period costume and identifying dating factors, but also propose a new nomenclature. It is hoped that this study will foster further studies in the field of Egyptian costume and be useful not only by Egyptologists, but also for those studying costume in the ancient world and beyond.Celem pracy jest identyfikacja oraz kompleksowa analiza stroju przedstawionego w prywatnej sztuce egipskiej w okresie pomiędzy XXV i XXVI dynastią (ok. 750-332 p.n.e.). Praca ta wypełnia lukę w literaturze naukowej, jako że nie istnieje studium podejmujące próbę szczegółowej interpretacji stroju w Okresie Późnym. Jest ona przeznaczona zarówno dla archeologów jak i historyków sztuki jako pomoc w datowania obiektów oraz w stworzeniu spójnego opisy stroju. Dysertacja wykorzystuje źródła ikonograficzne, takie jak rzeźby, płaskorzeźby, stele, itp., wykonane dla osób prywatnych, koncentrując się na analizie porównawczej tego samego rodzaju ubioru reprezentowanego odpowiednio w dwu i trójwymiarze. Do pewnego stopnia, wykorzystuje inne źródła, takie jak zachowane tekstylia oraz źródła pisane. W tym kontekście praca porusza kwestię stroju przedstawionego w sztuce w relacji do tkanin pochodzących z wykopalisk ze szczególnym uwzględnieniem podobieństw wynikających z porównania przedstawień artystycznych i znalezionych tekstyliów. Jednym z głównych tematów dysertacji są wzajemne zależności pomiędzy kulturą materialną a sztuką egipską, analizowane z wykorzystaniem porównań międzykulturowych, a także etnograficznych. Poruszane są kwestie wpływów obcych, zmian regionalnych, a także tradycji i nowatorstwa w sztuce egipskiej, a także zagadnienie archaizacji. Celem pracy było zgromadzenie jak najszerszego korpusu źródeł oraz ich analiza w muzeach lub na stanowiskach archeologicznych. Zgromadzona baza źródłowa posłużyła do stworzenia szczegółowej typologii stroju Okresu Późnego, która oparta jest na wyszczególnieniu zarówno pojedynczych elementów garderoby jak i zestawów ubraniowych. Każdy typ stroju jest analizowany pod kątem jego przedstawienia w sztuce Okresu Późnego, zawiera dyskusję na temat chronologii jego występowania, rozwoju diachronicznego, dystrybucji geograficznej, a także nomenklatury w literaturze naukowej i, jeśli jest znana, w pisanych źródłach egipskich. Typologia jest podzielona na strój męski i żeński. Strój męski to różnego rodzaju ubrania spodnie, takie jak np. kilty, szendżyt, szarfy, tuniki oraz ubrania wierzchnie, np. peleryny i szale. Strój kobiecy, który był mniej zróżnicowany, obejmuje różnego rodzaju suknie. Ważnym aspektem analizy stroju Okresu Późnego jest jego osadzenie w ścisłych ramach chronologicznych i geograficznych, a także społecznych. Praca ta analizuje zatem, w jakim stopniu strój może ujawniać zależności społeczne, a także być wyznacznikiem tożsamości kulturowej i etnicznej. W odniesieniu do obecności stroju obcego w sztuce egipskiej udowodniono, że w Okresie Późnym Egipcjanie przedstawiani są w stroju pochodzenia egipskiego, a tylko osoby obcego pochodzenia były reprezentowane w strojach, które mogą być identyfikowane jako obce lub etniczne. Przyjęta w rozprawie metodologia umożliwia stworzenie typologii stroju Okresu Późnego i ułatwia datowanie oraz wprowadza nowe nazewnictwo. Praca ma na celu zwrócenie uwagi na zaniedbany kierunek badań, w szczególności w odniesieniu do tkanin, co może przełożyć się nie tylko na ożywienie dalszych studiów nad strojem starożytnego Egiptu, ale także na wykorzystanie poczynionych ustaleń w badaniach nie-egiptologicznych, dotyczących stroju świata starożytnego i nie tylko.
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Liebenberg-Barkhuizen, Estelle Juliana. "The Iconography of the 'indigene' in Mary Stainbank's sculpture c 1920-1940." Thesis, 2002. http://hdl.handle.net/10500/879.
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Janáčová, Eva. "Židovská figurální ikonografie v českých zemích." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-334596.
Повний текст джерелаАнотація:
The primary aim of this dissertation is the mapping of Jewish figural iconography in the Czech lands, primarily of the Post-Emancipation - end of 18th to 20th century - period. The research focuses mainly on the protrayal of contemporary Jewish figures found in Czech visual culture, following religious as well as gradually secularized Jews through iconopgraphic themes. In dealing with the less observant or even wholly secularized Jewish figures, the aim is to show the iconographic elements by which these differ from the majority of society. In the first part the most important aspects of the evolution of Jewish iconography are analyzed. Among these the most important ones are a liberal interpretation of the Old Testament prohibition of figural representation, Jewish emancipation involving gradual assimilation as well as the Jewish yearning for an authentic visual representation, which most likely was the main factor behind the evolution of Jewish iconography. In addition to medieval and modern Jewish figural representations special attention is given to portrayal of Prague Jews and themes found in Hebrew manuscripts as well as printed materials, where surprisingly enough a much lower number of demeaning signs are found. Furthermore a gallery of portraits showing Czech Jews is shown, including...
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Eiman, Simoné Marianne. "A visual semiotic analysis of the hidden meanings, myths and ideologies in Old Mutual South Africa's CSR 2.0 corporate advertising." Diss., 2017. http://hdl.handle.net/10500/23130.
Повний текст джерелаАнотація:
Abstracts in English and AfrikaansThe aim of this exploratory study was to investigate the underlying meanings of Old Mutual South Africa’s (OMSA’s) CSR 2.0 corporate advertisements. It specifically examined the underlying myths and ideologies conveyed through the texts. This qualitative study was conducted by means of a visual semiotic analysis (Machin 2012) on eight CSR 2.0 corporate advertisements, which were purposively selected. A theoretical framework to measure visual CSR 2.0 corporate advertisements was developed, which aided in the sampling, data analysis and interpretation processes. The findings of the study indicated that by positioning its CSR 2.0 positively in terms of change and transformation, progress and equal opportunities for all citizens, OMSA is fostering stakeholder-organisation relationships. In addition, it was also found that OMSA adopts established representational tropes of CSR 2.0 and use them repetitively that firmly entrenches the intended/encoded message to the viewer.
Die doel van hierdie verkennende studie was om die onderliggende betekenis van CSR 2.0 korporatiewe advertensies in Ou Mutual Suid-Afrika te ondersoek. Dit is spesifiek gemoeid met die onderliggende mites en ideologieë wat deur middel van die tekste oorgedra word. Die kwalitatiewe studie is uitgevoer deur middel van 'n visuele semiotiese ontleding (Machin 2012) op agt CSR 2.0 korporatiewe advertensies, wat doelbewus gekies is. 'n Teoretiese raamwerk, om visuele CSR 2.0 korporatiewe advertensies te meet, is ontwikkel, dit het bygedra tot die steekproefneming, data-analise en interpretasie prosesse. Die bevindinge van die studie dui daarop dat deur CSR 2.0 positief in terme van verandering en transformasie, vooruitgang, en gelyke geleenthede vir alle burgers te posisioneer, OMSA verhoudings met belanghebbendes kan bevorder. Daarbenewens is ook gevind dat OMSA gevestigde temas van CSR 2.0 implementeer en hulle herhaaldelik gebruik wat juis die beoogde / gekodeerde boodskap stewig aan die kyker bevestig.
Communication Science
M. A. (Communication Science)
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Leitão, Renata Marques. "Culture as a project: design, self-determination and identity assertion in indigenous communities." Thèse, 2017. http://hdl.handle.net/1866/19971.
Повний текст джерела