Trata-se de uma anatomia palimpséstica. Da pesquisa em Educação como experimentação de um corpo em obra, incessantemente reescrito: rasura em meio à Arte, à Literatura, à Filosofia. Trata-se do tecido fragmentário de signos e escrituras múltiplas, da composição de um corpo transitório, testemunho dos vários topoi inventivos que concorrem para a sua expressão. De uma ordem arquitetônica ritmicamente impura, de tramas e conspirações entrexpressivas. Trata-se do corpo enquanto arranjo polifônico, do corpo rapsódico em suas superfícies. Do interferencialismo como tática, da arquitetura enquanto téchne corpórea, de uma geografia de variadas ectopias. De um inventário de corporemas, de grãos sonoros e picturais desdobrando-se em posturas e fragmentos. Trata-se do traçado anatômico enquanto gesto coletivo, do corpo lido, experimentado e escrito a várias mãos. De um corpo cuja vida, em sua neutra impessoalidade, mantém-se irredutível à figura de um sujeito ou de um objeto. Trata-se de perguntar, ainda hoje, o que pode ou não um corpo. O que pode ou não inscrever-se em um corpo. Em meio ao percurso do texto, trata-se do esboço de um corpo transitório, pensável através da linguagem, com as visões e audições que tornam possíveis seus interstícios e desvios. Do estudo dos modos de produção do corpo como uma pesquisa sobre a aventura do pensamento, da invenção e instauração contínuas de tensores e vedutas para a vida. Do corpo intensivo, de seus movimentos e condições de existência. Da delimitação de um plano no qual o problema do escrever não pode ser pensado a não ser em uma relação com forças sonoras e visuais que não apenas o assombram, mas também o constituem, numa travessia sinestésica. Trata-se de uma coexistência diagramática, de uma tópica-contraponto entre as práticas criativas. E nesse sentido, de ter o corpo como programa: para então criá-lo, operando-o em seus limites. / It refers to a palimpsestic anatomy. To research in education as a body of experimentation in its means, relentlessly rewrote: strikethrough amongst arts, literature, philosophy. It regards the fragmentary tissues of signs and multiple scriptures of the composition of a transitory body, testimony of various inventive topoi which compete for its own expression. An impure, rhythmic, architectonic order of traumas and intra-expressive conspiracies of the body whilst its polyphonic arrangement and rhapsodic surfaces. The interferencialism as tactic, the architecture while body techne of a various ectopia geography. An inventory of body parts and sonorous, pictorial grains unfolding into fragments and postures. The anatomic tracing while collective gesture of the body read, experienced and wrote from various hands. It regards a body in which its impersonality and neutral life remains irreducible to the figure of a subject or object. Yet today questionable what the body is able or not to and what may or may not be joint within a body. In face of the text discourse, it regards the sketch of a transitory body thought through a conceivable language, with hearing and views that allow its interstices and diversions. The study of the production modes of the body as a research on the adventures of the thought, the invention and continuous instauration of tensors and percepts to life. The intensive body and its movements and existential conditions. The delimitation of a plan in which the problem of writing cannot be thought of without its relations with sonorous and visual forces that not only threatens it, but also constitute a synesthetic crossing. It relates to a diagrammatic coexistence of a counterpoint topic amongst the creative practices. On this basis, to have the body as programme in order to create it by operating it to its limits.

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No. of bitstreams: 2 Tese - Ricardo Sena Coutinho - 2016.pdf: 2430482 bytes, checksum: 76541f57b81b0c35d9a29be085a1d77c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-15 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Television series, especially those which involve the mythical figure of zombies, have reached high rates of acceptance and audience nowadays. The general objective of this research is to analyse the configuration on imagistic and linguistic signs in the representation of zombies in the British TV series In the flesh (2013). It is possible to make a symbolic and socio-historical interpretation of the living-dead from the series which suggests the need for acceptance of others and the importance of respect for differences, demonstrating how zombies can function as a rich source of signification to explain and/or represent the world. The research is justified by the very small number of studies which associates Barthes to televisual productions, by the attempt to take the studies on horror genre away from the academic periphery, by the emergency of discussing interpersonal relations which are set up nowadays and, furthermore, by the opportunity to study and analyse our own culture and understand the human being. Although the research relies on the field of cross-disciplinary studies, once it involves film analysis and Cultural Studies, the basis of the research lies in Semiology, proposed by Roland Barthes. Barthes Semiology reveals to be important in the sense of legitimating the existence of duality which makes up the sign, be it linguistic or imagistic, which is denotative and connotative at the same time, the said and the unsaid. For this purpose, we have made use of a few Barthes’s notions, such as the myth, until entering the kitchen of meaning, where Semiology finds the job of studying the mysterious operation through each any message is impregnated with a second meaning, ideological in general, to which Barthes nominates connoted sense. The methodological procedures we have used include document and film analysis and the semiologic project methodology by the French author and aim at demonstrating how the significance of zombies does not consume only the denoting materiality, but affords to wear numerous and changing senses, including metaphorising intolerance, as concluded by the end of the research. / As séries televisuais, especialmente aquelas envolvendo a figura mítica dos zumbis, têm alcançado enormes índices de aceitação e audiência na atualidade. O objetivo geral da presente pesquisa é analisar a configuração dos signos linguísticos e imagéticos na representação dos zumbis na série inglesa In the flesh (2013). É possível realizar uma interpretação simbólica e sócio-histórica dos mortos-vivos da série, que sugerem a necessidade de aceitação do outro e do respeito à diferença, demonstrando como os zumbis podem funcionar como um rico manancial de significação para explicar e/ou representar o mundo. A pesquisa se justifica pela ínfima quantidade de estudos que associam Barthes a produções televisuais, pela tentativa de retirar da margem acadêmica estudos sobre o gênero terror, pela emergência de uma discussão sobre as relações interpessoais que se estabelecem na contemporaneidade e, mais ainda, pela oportunidade de estudar e analisar a própria cultura, para, assim, compreender o humano. Embora se situe no campo dos estudos transdisciplinares, por envolver a análise fílmica e os Estudos Culturais, a base da pesquisa é a Semiologia proposta por Roland Barthes. A Semiologia barthesiana revela-se importante no sentido de legitimar a existência de uma dualidade que perfaz o signo, seja ele linguístico ou imagético, que é ao mesmo tempo denotativo e conotativo, dito e não-dito. Para isso recorremos a algumas noções de Barthes, como aquela do mito, até adentrar na cozinha dos sentidos, onde a Semiologia encontra a tarefa de estudar a operação misteriosa pela qual uma mensagem qualquer se impregna de um sentido segundo, em geral ideológico, a que Barthes chama sentido conotado. Os procedimentos metodológicos aqui utilizados incluem a análise documental e fílmica e a metodologia do projeto semiológico do autor francês e tem o intuito de demonstrar como o significado dos zumbis não se esgota apenas na materialidade denotativa e se permite revestir de inúmeros e cambiantes sentidos, inclusive metaforizando a intolerância, como concluímos ao final da pesquisa.

São muitas as parcerias no cinema, mas a que relaciona o diretor de cena ao diretor de fotografia é certamente a principal. A proposta desta dissertação de mestrado é analisar o estilo de fotografia criado por Eduard Tissé em três dos filmes que trabalhou com Eisenstein. A metodologia teórica da pesquisa baseia-se em Roland Barthes a partir da análise do artefato primeiro do cinema, que é o fotograma. As dimensões sociais ligadas ao materialismo dialético e suas aplicações ao filme, na forma como o espectador promove a leitura de sentidos, preocupavam o diretor soviético. Com isso evidencia-se o princípio conceitual de Eisenstein, desenvolvido pela célula de montagem, na visão da sua missão sócio-cultural em busca da fotografia do conflito. / There are many partnerships in the movie business, but that between director and director of photography is certainly the main one. The purpose of this dissertation is to analyze the style of photography created by Eduard Tissé in three of the movies he worked with Eisenstein. The theoretical research methodology is based on Roland Barthes from the analysis of the first film artifact: the frame. The social dimensions related to the dialectical materialism and its applications to the cinema - the way the audience reads the film sense - worried the soviet director. With that, the conceptual principle developed by Eisenstein is highlighted in search of the conflict cinematography.

Este trabalho nasceu do desejo de destrinçar a noção de escritura de Roland Barthes a partir do pressuposto de sua indistinção entre o aspecto estético e o ético. Considerando que desde seus primeiros escritos identifica-se esta percepção que a forma também é valor, desejamos mostrar como a materialidade da escritura encena essa ligação do escritor com seu presente ao longo de seus textos. Nessa travessia, defendemos que Barthes se apropriou das noções de discurso e enunciação, propostas por Émile Benveniste, uma vez que elas ajudaramno a conformar uma compreensão inédita da frase como atividade criadora, particular e inédita. Para Barthes, tal compreensão foi ao encontro de sua concepção sobre a escritura, possibilitando a esta ser entendida precisamente como produção de um sujeito sempre presente, mas que paradoxalmente se dissemina e se constitui pelo exercício da língua. A frase, assim, torna-se o espaço que o sujeito varia infinitamente, produzindo nuances que o afetam de modo contínuo. A escritura entendida como enunciação possibilita a Barthes o exercício infinito de uma forma que o vincula ao outro e que por isso designa uma inscrição ética, moral ou de moralidade, ondulação de nuances que dão-se a ver conforme o deslocamento de sua escritura. No encontro entre sujeito e mundo, da singularidade de seu corpo e dos corpos dos outros, a escritura torna-se o ângulo e o modo de enunciar cada vez \"uma visão sutil do mundo\". / This work came up as a wish to unravel the writing notion proposed by Roland Barthes from the assumption of the indistinct aspect of aesthetic and ethic elements. Taking into consideration that since his first writings one identifies the idea of form understood as a value, we would like to demonstrate how the materiality of his writings plays the bind between the writer with his present throughout the years. In this crossing, we propose that Barthes has appropriated the notions of discourse and enunciation by Émile Benveniste, once they helped him to conceive a new comprehension of the sentence as a creative, particular and unprecedented activity. This comprehension of Benveniste suited Barthes idea of writing, making it possible to be precisely understood as produced by an always-present subject, although paradoxically disseminated and constituted through the language. The sentence, therefore, becomes the space where the subject varies infinitely and constantly produces nuances. Writing comprehended as enunciation makes possible the unlimited exercise of a form that binds the subject to the others. This designates an ethical, moral or morality inscription, hues of concepts produced according to the shift of Barthes texts. In the encounter of the subject and the world, of the singularity of his body and the others bodies, writing becomes the very angle and the manner to enunciate each time a \'subtle vision of the world\'.

Este estudo busca traçar os caminhos de uma leitura em que Barthes é visto não como um crítico cuja obra deve ser desdobrada, mas como um escritor da literatura francesa. Para isso, escolhi percorrer a sua obra, olhando para a sua inscrição no intervalo entre os textos lidos e escritos mas também para como ele se inscreve no intervalo que existe entre a ficção e a crítica até o encontro de uma frase que talvez possa iluminar todo o meu percurso. / This study attempts to trace the paths of a reading in which Barthes is seen, not as a critic, but as a writer of French literature. To do so, I chose to go through his complete works, looking at his inscription in the interval between the read and the written texts -­ but also in how he fits into the range that exists between fiction and criticism -­ until the meeting of a phrase that might illuminate my whole itinerary.

Ce travail de recherche s’inscrit dans le cadre d’une étude de genre, celui de la photobiographie, qui englobe tous types de livres autobiographiques dans lesquels la photo (mentionnée, décrite ou effectivement reproduite) joue un rôle central. Il s’appuie sur les œuvres de trois auteurs emblématiques, Roland Barthes, Denis Roche et Annie Ernaux, qui se rejoignent autour de leur commun désir de capter une trace de leur existence en s’en tenant au plus près de la réalité concrète du vécu, conformément au modèle d’enregistrement photographique. Dans cette perspective, leurs démarches respectives sont traversées par une même problématique de l’écriture de notation de la vie qui bouleverse considérablement les enjeux du genre autobiographique traditionnel. Dans le travail de Barthes, la photo offre non seulement le modèle d’une écriture notationnelle du présent, mais elle pourvoie également des « biographèmes » studium et punctum construisant un sujet fragmenté. Roche se pose pour sa part comme un praticien accumulant inlassablement des dépôts graphiques de vie, et les incluant occasionnellement dans divers dispositifs faisant valoir les caractéristiques essentielles de la photographie (instantanéité, mécanicité, exposabilité, sérialité). Quant à Ernaux, elle inscrit davantage son entreprise « auto-socio-biographique » dans l’optique d’un témoignage sociologique et historique, et se sert de la photo pour révéler la part d’altérité et la dimension collective dans le « moi ». Les trois oeuvres formant ce corpus appartiennent en définitive à un paradigme argentique ancré dans la fin du XXème siècle, et sur le point de disparaître à l’aube du XXIème, celui de la technologie numérique. / This thesis examines the literary genre of photobiography, which encompasses autobiographical works in which photographs play an essential role, be they reproduced or merely described within the text. It focuses more specifically on the works of three contemporary photobiographers, Roland Barthes, Denis Roche and Annie Ernaux. These authors share a desire to capture material traces of their own existence and to grasp the concrete reality of their lives. In doing so, they follow the model of photographic recording and produce a notational form of life writing that significantly challenges traditional autobiography. In Barthes’s photobiographical project, the photograph is not only viewed as an exemplary form of the notation of the present, but also provides a number of studium and punctum ‘biographemes’ that eventually construct a fragmented autobiographical subject. Roche’s photobiographical activity is that of a practitioner (he is both a photographer and a writer) and consists in ceaselessly accumulating graphic ‘deposits’ of life and in incorporating them within intermedial devices that exploit the principal characteristics of photography (instantaneity, mechanicity, exposability, seriality). Finally, Ernaux’s ‘auto-socio-biographical’ work provides a sociological and historical testimony that makes use of the photograph to reveal the collective dimension and alterity of the ‘self’. This body of work belongs to the paradigm of analogue photography, which is anchored in the twentieth century and is on the verge of disappearing at the dawn of the twenty-first.

I dagens läge vill konsumenter se varumärken ta ställning i politiska och sociala diskurser och därför tenderar varumärken ofta navigera för att kunna representera sig själva som brydda om olika aktuella politiska frågor. När man ser till hur varumärken försöker ligga i linje med idéer om social rättvisa är det viktigt att notera kapitalismens roll i samhället, där det som är moraliskt ofta är bestämt eller påverkat av det som har ekonomiskt värde. Den här uppsatsen ämnar undersöka musikplattformen ColorsxStudios underliggande politiska budskap med hjälp av Roland Barthes teori om Myten. Uppsatsen dsikuterar även huruvida marknadsföringen plattformen bedriver är etiskt hållbar och förenlig med deras underliggande budskap och ideologi. Detta görs med hjälp av begreppet woke washing.

This dissertation explores myth-making in Latin America by focusing specifically upon four Amerindian and mestizo figures: Doña Bárbara, mestiza protagonist of Rómulo Gallegos’ 1929 novel; Anacaona and Hatuey, Taíno caciques who first appeared in Bartolomé de las Casas’ Brevísima relación de la destrucción de las Indias (1552); and Andrés Chiliquinga, indigenous protagonist of Jorge Icaza’s Huasipungo (1934). The present analysis examines the evolution of these myths from their original appearance to literary and film versions throughout the 19th, 20th, and 21st centuries in the Caribbean and Andean regions. The project focuses upon the ways in which artists have interpreted these myths, their embedding in society’s collective memory, and their mythical functions in anti- and postcolonial discourse. By breaking down each myth into its most basic structure, this project identifies the core connotations contained within that reveal each myth’s function as a cultural foundation in Latin America. It also examines how the versions of a myth depart from one another, thus underscoring possible critiques of the myth. Finally, it examines the ways in which some of these myths have become commodities, particularly in contemporary popular culture. By examining these figures as cultural myths—bridging past and present—, this research argues that a mythic-interpretive model proves effective as it leads us to a deeper understanding of the universal connotations contained not only within the stories chosen here, but the Latin American narrative as a whole.

Semiotics and the concept of signs can be used to analyse the signs that can be found in a Swedish primary school in order to understand and expand our understanding of the role of signifiers, including cultural ones, in child education. The study identifies what signs can be found, what purpose they have and what category of sign they belong to, whether they are signs as defined by Saussure, how they might be categorized within Peirce‘s triadic typology and, applying Barthes’ notion of cultural signification, the extent to which they contribute to maintaining and promoting a school’s identity and values. In order to analyse the signs, a Swedish public primary school located in Halmstad was visited and the visible signs were photographed and catalogued. In order to confirm the intentions behind the design and meaning of signs, an interview with a senior teacher was arranged. The result, and signs, that were documented and described; these included drawings, emergency escape signs, posters, diplomas and other instructions with picture or sign language representations. The signs were categorized and analysed using semiotic theories of signs suggested by Saussure, Peirce and Barthes. The study facilitates a clearer understanding of the range of functions of signs in schools, both for practical purposes and as signifiers of culture and identity, and also highlights the possible applications and limitations of using semiotic theories in investigating generated meanings in physical locations.

<p>The reception and the study of the novel Spring Snow by Yukio Mishima has – as always with the novels of Yukio Mishima – focused on the writer himself according to his spectacular way of life and death. Opposite to the studies and the reception, this master thesis focuses on the novel itself by following two more or less hidden traces in the novel: the protagonist Kiyoaki and his attitude to responsibility and dreams. This examination deepens the novel, by showing how the mechanisms of its inherent complexity work. It has been made by freely applying Roland Barthes´ method “rewriting the text”.</p>