Though casual readers may often assume cookbooks are primarily reference materials,cookbooks actually offer readers a type of autobiography; I examine cookbooks as literary autobiographical acts by analyzing three celebrity chefs' cookbooks and the recent film, Julie and Julia. Julie and Julia, starring Meryl Streep and Amy Adams, illustrates several key autobiographical ideas, specifically Barthes' ideas of readerly and writerly texts and the distinction between an author and a persona. The film acts as a visual representation of the way a reader engages with a text and makes it a writerly text while successfully distinguishing between an author and a persona/narrator. After a brief review of autobiography theory through Julie and Julia, the three selected authors' work further magnifies the ideas. The first celebrity chef, David Lebovitz, uses a highly narrative style and incorporates numerous autobiographical details into his books. The second, Ina Garten, utilizes different methods of creating a persona, including photography. The third chef, Dorie Greenspan, uses the same methods used by Lebovitz and Garten, but has been replicated extensively in online baking groups, making her texts ideal for understanding the role of the reader in an autobiography. The work of these three authors illustrates well how autobiographies function and how readers can reiterate their own autobiographies through the books and food they consume.

<p>Med Roland Barthes semiologiska mytsystem som mall analyserar jag i uppsatsen de myter om samerna som Selma Lagerlöf berättade, för Sveriges skolbarn, i sin geografiska läsebok <em>Nils Holgerssons underbara resa genom Sverige</em>, och jämför dem med den samtida politiska ”lapp skall vara lapp”-myt, som påstod att samerna hade ett rasdrag som gjorde dem starka som renskötare i fjällen, men att de i övrigt var svaga och mindervärdiga. Resultatet av undersökningen visar att Lagerlöf i sin läsebok presenterade två helt olika myter om samerna.</p><p>En, dold myt, i allegorisk form, där hon var skarpt kritisk till den undanträngning av samerna som den kulturdarwinistiska ”lapp skall vara lapp”-myten förespråkade, och en tydlig myt, där hon öppet legitimerar denna förskjutning av den etniska minoriteten.</p>

In this paper Mona Hatoums installation Corps étranger is discussed via a post structuralized method based on associative and semiotic comparisons with vanitas, a post-modern self-portrait, and as a representative for modern visual art. The analyze touches upon pornography, science fiction and the quest for scientific conquest in outer and inner space. Theoretical references are Foucault, Freud, Lacan, Barthes, Dolar, Said and Virilio. Hatoum makes the observer a voyageur with the aid of the latest medical technology, endoscope, which gives her the opportunity to make an introvert self-portrait when she films her own throat and rectum. But at the same time she makes the portrait of us all. I interpret this as a fictious science with postcolonial ideas, and the reference to science fiction is close at range. Hatoum takes the role as the other, the woman or the stranger and might flirt with Jülich interpretation of Corps étranger as a sign of the visual cultures colonisation of the human body’s inside, that is a conscious reference to sexuality, ethics and the search for knowledge and power.

Med Roland Barthes semiologiska mytsystem som mall analyserar jag i uppsatsen de myter om samerna som Selma Lagerlöf berättade, för Sveriges skolbarn, i sin geografiska läsebok Nils Holgerssons underbara resa genom Sverige, och jämför dem med den samtida politiska ”lapp skall vara lapp”-myt, som påstod att samerna hade ett rasdrag som gjorde dem starka som renskötare i fjällen, men att de i övrigt var svaga och mindervärdiga. Resultatet av undersökningen visar att Lagerlöf i sin läsebok presenterade två helt olika myter om samerna. En, dold myt, i allegorisk form, där hon var skarpt kritisk till den undanträngning av samerna som den kulturdarwinistiska ”lapp skall vara lapp”-myten förespråkade, och en tydlig myt, där hon öppet legitimerar denna förskjutning av den etniska minoriteten.

The thesis combines D.N. Rodowick’s concept of the figural, denoting the complex nature of filmic signification; Roland Barthes’ distinctions between the readerly and the writerly, which are different methods of engaging with a text; and Thierry Kuntzel’s concept of semiotic constellations, the reading of recurring yet fragmented motifs that occur throughout the film. Here reintroduced through the concept of eddies—discursive fields within the film which displace the connection between the signifier and signified (the flow of signification), instead distinguished by signifiers engendering new signifiers (the swirl of signification)—to unlock a new method of reading a film. This method focuses on interpreting the latent meanings of the plural of the text; the residual signs in the film which hold little to no bearing on its narrative, but through their deconstruction and later reassembly they may guide to viewer to new meanings. By first delineating the method proposed for this type of reading, the thesis then applies this method to the reading of one such eddy in the art-film Out 1: Noli me tangere from 1970, which is connected to the discursive field of Prometheus Bound, a play rehearsed within the film by a group of six actors who engage in various exercises, which at first glance seem to be entirely unconnected to the play. In this case, the method reveals through the figural activity of the film that the exercises of the group are engaged in dialogue with themes touched upon in the play.

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

No description available.

O tema da pesquisa da presente dissertação é investigar a poética narrativa do cineasta sulcoreano Kim Ki Duk a partir dos elementos nomeados labirintos imagéticos presentes na narrativa fílmica Time (Shigan)-2006. O ponto de partida do estudo é a análise da narrativa focalizando o trânsito entre textos e os jogos de significantes no discurso amoroso e na criação de corpos orgânicos, imagéticos, simbólicos e ficcionais. Sendo assim, foram explorados os labirintos do discurso amoroso e os labirintos do corpo como os responsáveis pela formação dos labirintos imagéticos que permeiam a narrativa fílmica em análise. Ao longo do estudo do objeto híbrido— narrativa fílmica, pontuaram-se questionamentos sobre Intertextualidade, Interdisciplinaridade, Imagem, Olhar e o objeto a. Pretendo estabelecer diálogos entre Teoria Literária, Psicanálise, Antropologia, Filosofia, Estudos Intermídias e Estudos Culturais, uma vez que a narrativa fílmica do cineasta Kim Ki Duk é tecida e mediada por elementos de uma poética dos limiares, de jogos vertiginosos das imagens e de provocação dos limites da linguagem, oscilando entre a presença e a ausência de significantes. / The theme of this thesis is discuss the visual poetic in narratives of South Korean filmmaker Kim Ki Duk through elements named mazes imagistic in film narrative Time (Shigan) -2006. The starting point of the study is the analysis of narrative focusing on transit between texts and significants in love speech also in the constructions of organic bodies, imagery, symbolic and fictional. Thereby, the labyrinths of love's speech and the labyrinths of the body were exploited, as responsible for the formation of imagistic mazes that permeate the film narrative in analysis. Throughout the study of hybrid object- film narrative, some questions emerged about Intertextuality, Interdisciplinary, Image, Gaze and the object a. I intend to establish dialogues between Literary Theory, Psychoanalysis, Anthropology, Philosophy, Intermídias Studies and Cultural Studies, since the film narrative filmmaker Kim Ki Duk create elements of a poetics of the transit of images and limits of language, through oscillations between the presence and the absence of significants.

O tema da pesquisa da presente dissertação é investigar a poética narrativa do cineasta sulcoreano Kim Ki Duk a partir dos elementos nomeados labirintos imagéticos presentes na narrativa fílmica Time (Shigan)-2006. O ponto de partida do estudo é a análise da narrativa focalizando o trânsito entre textos e os jogos de significantes no discurso amoroso e na criação de corpos orgânicos, imagéticos, simbólicos e ficcionais. Sendo assim, foram explorados os labirintos do discurso amoroso e os labirintos do corpo como os responsáveis pela formação dos labirintos imagéticos que permeiam a narrativa fílmica em análise. Ao longo do estudo do objeto híbrido— narrativa fílmica, pontuaram-se questionamentos sobre Intertextualidade, Interdisciplinaridade, Imagem, Olhar e o objeto a. Pretendo estabelecer diálogos entre Teoria Literária, Psicanálise, Antropologia, Filosofia, Estudos Intermídias e Estudos Culturais, uma vez que a narrativa fílmica do cineasta Kim Ki Duk é tecida e mediada por elementos de uma poética dos limiares, de jogos vertiginosos das imagens e de provocação dos limites da linguagem, oscilando entre a presença e a ausência de significantes. / The theme of this thesis is discuss the visual poetic in narratives of South Korean filmmaker Kim Ki Duk through elements named mazes imagistic in film narrative Time (Shigan) -2006. The starting point of the study is the analysis of narrative focusing on transit between texts and significants in love speech also in the constructions of organic bodies, imagery, symbolic and fictional. Thereby, the labyrinths of love's speech and the labyrinths of the body were exploited, as responsible for the formation of imagistic mazes that permeate the film narrative in analysis. Throughout the study of hybrid object- film narrative, some questions emerged about Intertextuality, Interdisciplinary, Image, Gaze and the object a. I intend to establish dialogues between Literary Theory, Psychoanalysis, Anthropology, Philosophy, Intermídias Studies and Cultural Studies, since the film narrative filmmaker Kim Ki Duk create elements of a poetics of the transit of images and limits of language, through oscillations between the presence and the absence of significants.

« Monsieur l'Éducateur », c'est un texte de la série « Biographématique du homo quotidianus ». Cette collection pratique l'Écriture de Vie en la mettant dans une non-relation avec la déjà triste méthodologie de la recherche Histoires de Vie – maltraitée par le stéréotype de l'écrite en Éducation, par la pesanteur du sens. Le quotidien lu avec Maurice Blanchot, James Joyce, Haroldo de Campos, rencontre les conditions opérationnelles pour l'implication de la notion du biographème, de Roland Barthes. Ce scénario, tempespace de l'écrilecture, est mis en échec dans la composition fragmentaire d'un personnage qui donne mouvement aux qualités fantasmatiques du homo quotidianus : « Monsieur l'Éducateur » montre, de détails exacerbés et de traits recueillis d'un ample inventaire socio-culturel – une littérature nécessaire, une Éducation aimée – l'insignifiance, la vie fugitive, l'ouverture, la vidage faite par son écriture dans les Études du Quotidien et dans les narratives d'importance biographique et autobiographique. « Monsieur l'Éducateur » fait, dans un seul temps, une vaste critique de l'éducacion et une intense fantaisition du « viervuo ». / “O Senhor Educador”, um texto da série “Biografemática do homo quotidianus”. Tal coleção pratica a Escrita de Vida implicando-a numa não-relação com a já triste metodologia de pesquisa Histórias de Vida – maltratada pela estereotipia da escrita em Educação, pelo pesadume do sentido. O cotidiano lido com Maurice Blanchot, James Joyce, Haroldo de Campos, encontra as condições operatórias para a implicação da noção de biografema, de Roland Barthes. Este cenário, tempespaço de escrileitura, é posto à prova na composição fragmentária de um personagem que dá movimento às qualidades fantasmáticas do homo quotidianus: “O Senhor Educador” mostra, em pormenores exacerbados e traços recolhidos de um amplo inventário sócio-cultural – uma literatura necessária, uma Educação amada – a insignificância, a vida fugidia, a abertura, o desfazimento operado por sua escritura nos Estudos do Cotidiano e nas narrativas de ênfase biográfica e autobiográfica. “O Senhor Educador” faz, a um só tempo, uma extensa crítica educacional e uma intensa fantasiação de “vidarbo”.