Mitt syfte med denna uppsats har varit att undersöka hur tonåringar uppfattar och tolkar reklam. Jag har gjort ett pedagogiskt projekt om reklam som är kopplat till semiotisk bildanalys, reception och perception tillsammans med elever i skolår sju till nio på min partnerskola. Metoder som jag har använt till undersökningen är enkät, intervjuer, lektioner, fältanteckningar och mycket litteratur för att försöka stödja mina teorier. Jag har beskrivit olika metoder och teorianknytningar som förklarar hur reklambilderna är uppbyggda samt på vilket sätt metoderna fungerade i praktiken tillsammans med eleverna med bl.a. Roland Barthes teorier. Den grundläggande idén var att se om hans teorier kunde användas som redskap i bildanalyserna tillsammans med eleverna i skolår sju till nio. Lärare och elever uppfattar och tolkar reklamen de möter från olika perspektiv.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Ann's Loves is a script for a feature-length film incorporating the ideas and theories of French New Wave directors and postmodern literature to reveal insights about the romance in the protagonist's life. The plot and structure of the film is based on the different interactions Ann has leading to her experience of love and intimacy with other characters, places, and art. Ann's loves are also in conflict with the ideas of love promoted to her, including the pressure to get married. While evaluating many kinds of love, Ann struggles to discover her ideal love(s). Ann's loves are expressed in different film tracks, allowing a consistent linear narrative throughout the film, but also producing non-narrative moments where only sound and text or images are displayed. Yet all features of the film represent Ann's loves and the loves of those that influence Ann. Many of the scenes are meant to capture Ann's inner life and her views of love and romance, paralleling key themes and structures in A Lover's Discourse by Roland Barthes. Like Barthes, Ann produces her own understanding for words that describe her "scenes of love." The film explores Ann's feelings while confronting her conception of the intimacies she has; in this way it is similar to the films of French New Wave director Eric Rohmer, whose films revolve around his characters' analysis of their relationships. However, unlike Rohmer's films, this work "separates the elements" of the film and interrupts the main narrative of Ann's exploration of love and relationships. This interruption and separation of elements allows for expository and poetic approaches that are normally suppressed in narrative films. The film acknowledges the instability of the idea of love, proves how much love is constructed by society, culture, and family, and provides opportunities to make choices about love and relationships that we may overlook.

This diploma thesis deals with semiotics (the study of signs) in audiovisual commercials. In its theoretical part it is engaged in the field of semiotics. At this point it investigates mainly the problems of a sign, the key element of semiotics. Furthermore it follows the development of the knowledge acquired through semiotics to other areas of research which help to detect the meanings of communication. Those areas are the levels of signification, thus denotation, connotation and myth. This chapter especially draws on Roland Barthes and his publication Mythology, which inspired this diploma thesis. The theoretical part continues by explanation of the main problems of commercial. It gives out the definition of a commercial, explains commercial as a communication process, but also depicts the strategies used in a commercial. Furthermore it tells about conceptualization of a commercial by Jean Baudrillard. Since the thesis analyses audiovisual commercials, it also deals with the sound and picture of a commercial. In its practical part the thesis continues with the analysis of seven audiovisual cosmetic products' commercials itself. Semiotic analysis is done according to Barthes' model. The thesis describes each commercial's story, scene, and sounds, and then analyses those elements as well as the...

[pt] A clareza quanto à importância da escrita na formação dos professores, aliada ao fato de que a escrita é um tema recente de investigação, contribuíram para a definição do objeto de estudo desta tese: investigar as relações de professores com a escrita. No primeiro momento, são discutidas questões teóricas que buscam maior compreensão dessa problemática em torno da escrita e sua dimensão formadora., dialogando, especialmente, com os pensadores Mikhail Bakhtin e Roland Barthes, e suas concepções de língua, linguagem, escrita. A pesquisa de campo foi realizada em duas escolas de formação, públicas, estaduais - antigas escolas normais. Como estratégias metodológicas foram utilizadas observações de aulas, entrevistas, questionários e análise de documentos. A comparação entre essas fontes de dados, a busca de convergências e dissonâncias, à luz da base teórica estudada, permitiram no segundo momento, apresentar o cenário e seus atores e quem são os professores das escolas de formação, sem ignorar suas condições de produção. No terceiro momento, rastreando o espaço discursivo, são apresentadas as relações dos professores das escolas de formação com a escrita e suas concepções e sentidos de língua, linguagem e escrita. Estas apontaram para a predominância da linguagem como habilidade mecânica e como escritacópia. Esse estudo conduziu a reflexões sobre a necessidade da (re)dimensão dos cursos das escolas de formação, aqui incluídos os dos Institutos Superiores de Educação bem como os cursos de licenciatura, onde a escrita, independente das disciplinas que a tomam como - matéria - ou - conteúdo -,deve ser tratada essencialmente em sua dimensão formadora, escrita como experiência, produtora de sentidos, que constitui o sujeito- leitor-escritor crítico, transformador. / [en] The clarity in the importance of the writing in the formation of teachers and the writing as a recent subject of investigation had contributed for the definition of the object of study of this thesis: to investigate the relations of teachers with the writing. In first place, theoretical questions are discussed to search greater understanding of this problematic around the writing and its dimension, by dialoguing, especially with the thinkers Mikhail Bakhtin and Roland Barthes, and their conceptions of language and writing. The field research was carried through in two state schools of formation, old teachers chools. Comments of lessons, interviews, questionnaires and analysis of documents had been used as methodological strategies. The matching between these sources of data, the search for convergences, under the light of the studied theoretical base, had allowed, in second place, to present the scene and its actors and who are the teachers of the formation schools, without ignoring their conditions of production. In the third place, tracing the discursive space, the relations between the teachers of the formation schools with the writing and their conceptions and feelings of language are presented. These had pointed to the predominance of the language as mechanic ability and as writing-copy. This study had led to reflections on the necessity of the (re)design of the courses in the schools of formation, where the writing, independent of the subjects taken as content

Ana Cristina Cesar e Roland Barthes são frequentemente caracterizados por uma dicção intimista e subjetiva, que o estudo especializado averigua ser resultado de articulações muito específicas do eu em seus textos. Esta dissertação inscreve-se nesses estudos, traçando a movimentação entre os espaços de intersecção, os de autonomia e o trânsito entre escritor e locutor em escritos de Ana C. e de Barthes. Examina a inclusão deliberada de determinados dados biográficos dos escritores no espaço textual da obra, pensando um arraigamento da escrita na biografia como projeto em Barthes e como inquietação em Ana C.. Discute os diários como espaço de modulação do eu na escrita, e também de correlatos como subjetividade e identidade, visto que os dois autores trabalham o gênero com finalidades literárias, operando nele certos deslocamentos. São também investigados modos de relação entre os meticulosos eus textuais e o Outro, em duas frentes: imagens fotográficas em livros dos autores e o anseio pelo outro, como interlocutor em Ana C. e como matéria e motivo de um narrar em Barthes. A análise se concentra sobre A teus pés, Crítica e Tradução e a iconografia de Inéditos e Dispersos de Ana C., e de Barthes, A Câmara Clara, Incidentes e Roland Barthes por Roland Barthes. / Ana Cristina Cesar and Roland Barthes are often described as having an intimist and subjective diction, which specialized study shows to be the result of very specific articulations of I in their texts. Likewise, this dissertation traces the dynamics of intersection, autonomy and transit between writer and speaker in the writings of Ana C. and Barthes. It examines the deliberate inclusion of certain writers biographical data in the oeuvre arena, which roots writing in biography as a project for Barthes and as unease for Ana C.. This work discusses the diary as a writing arena for modulating the I, as well as related notions such as subjectivity and identity, given that the two authors work the genre with literary purposes and thus operate certain shifts in it. This study also investigates relationships between the meticulous textual I and the Other, on two fronts: photography in the authors books and the longing for the other, as an interlocutor for Ana C. and as subject and reason of narrative for Barthes. The analysis focuses on Ana C.s A teus pés, Crítica e Tradução and the iconography of Inéditos e Dispersos, and Barthes Camera Lucida, Incidents and Roland Barthes by Roland Barthes.

La thèse est consacrée au voyage en Chine (1974) de Philippe Sollers, Julia Kristeva et Marcelin Pleynet, représentants de la revue Tel Quel, avec Roland Barthes et son éditeur François Wahl. La question principale porte sur l’hétérogénéité des textes rédigés à propos de leur séjour au pays de Mao en pleine Révolution culturelle. Les publications correspondent à différents genres textuels : essais, romans, chroniques du journal, articles de presse et carnets de voyage. Avant le départ, les écrivains fantasment sur la Chine ancienne et contemporaine. C’est ce qui fait l’objet de la première partie de la thèse. Dans la seconde partie, il s’agit d’interroger les textes du corpus qui mettent en lumière les difficultés liées à l’idéologie imposée et vécue par les auteurs pour rendre compte du réel en Chine. La troisième partie portant sur les enseignements du voyage montre que ce dernier réapparaît sous forme de souvenirs inoubliables dans plusieurs textes des écrivains. Plus on s’éloigne de 1974, et plus la mémoire individuelle réactive de façon aléatoire le temps du voyage. Pour Barthes, il s’agit de savoir comment il a vécu la Chine, pourquoi il a gardé le silence à son retour, pourquoi il n’a pas cherché à publier les carnets de notes rapportés de son séjour. La thèse s’achève sur une lecture inédite des œuvres du corpus à travers un mot clé « la fadeur de la Chine ». Cette image est la plus vraie pour décrire l’Empire du Milieu mais elle n’est pas celle que les voyageurs s’attendaient à rencontrer. / This thesis is devoted to the trip to China made by Philippe Sollers, Julia Kristeva, Marcelin Pleynet, Roland Barthes and François Wahl in 1974. This study mainly concerns the heterogeneity of all the publications about their stay in Mao’s country in full Cultural Revolution, including essays, novels, travel journal, press articles and travel notes. In the first part of the study, we seek to understand how the members of the literary magazine Tel Quel dreamed to China, which they considered to be both ancient and modern before the travel. In the second part, we examine each text of the corpus to see the difficulties faced by the authors when they tried to account for the real China, including the imposed ideology. In the third part, we aim to ask how the trip in Communist China becomes an unforgettable memory in these travelers’ text. The more time goes by, the more travel memories reappear. In addition, we study Barthes to understand how he lived during his stay in China, why he kept silent after he returned, and why he didn't publish his notebooks of the trip before his death. At the end of the thesis, the unprecedented reading of texts of the corpus presents a key-word, the “insipidity of China”, a metaphor that is most trued to describe the middle Empire.

This diploma thesis, called Hyundai commercials from the semiotic point of view, deals with audiovisual commercials and their meanings, which can be hidden in them. The thesis is inspired by the book Mythologies which was written by Roland Barthes. The first part of the thesis is a chapter about the car manufacturer Hyundai, its background in the Czech Republic and also the reason for the choice of this brand is stated here. This part is followed by a chapter about advertising. Advertising is a type of persuasive communication, it is a part of mass media and is connected to other sciences such as psychology, social studies, linguistics and others. Relevant knowledge of these fields is used as well. The theoretical background of the thesis is extended in the next chapter which focuses on the science of semiotics. Key terms such as semiosis, sign, denotation, connotation, primary and secondary semiological systems and myth are defined. Also the method of semiotic analysis is explored. In connection with the terms mythology and ideology a subchapter on Roland Barthes follows. In the methodology chapter the research design is stated and research questions are formulated. The analytical chapter consists of the denotative parts of analyzed commercials (the plot together with the scene and sound is...

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T13:27:42Z No. of bitstreams: 1 saviodamatomendes.pdf: 828811 bytes, checksum: da0b9c008f1c08b673e1d0adac1d9c84 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-27T13:58:33Z (GMT) No. of bitstreams: 1 saviodamatomendes.pdf: 828811 bytes, checksum: da0b9c008f1c08b673e1d0adac1d9c84 (MD5) / Made available in DSpace on 2016-01-27T13:58:33Z (GMT). No. of bitstreams: 1 saviodamatomendes.pdf: 828811 bytes, checksum: da0b9c008f1c08b673e1d0adac1d9c84 (MD5) Previous issue date: 2014-03-27 / O que se propõe neste estudo é investigar os procedimentos que em uma obra literária levam ao efeito de ―Fora na linguagem‖. O que é esse Fora? Que gama de efeitos produz? Quais os procedimentos para fazê-lo existir em uma obra de arte, na literatura em particular? Eis algumas das questões que nos interessam. Para desenvolver tal procura em busca do Fora, utilizaremos como suporte e corpus teórico autores que seguiram a trilha do Fora na linguagem, tais como Roland Barthes, Maurice Blanchot, Gilles Deleuze, Pierre-Félix Guattari, Tatiana Salem Levy, dentre outros. Será a partir de cinco obras previamente selecionadas que exploraremos alguns dos procedimentos que levam ao Fora, assim como seu conceito aplicado à literatura: ―A Terceira Margem do Rio‖ e ―Meu Tio Iauaretê‖, de Guimarães Rosa; Mar Paraguayo, de Wilson Bueno; Bodenlos: uma autobiografia filosófica, de Vilém Flusser e Bartleby, o escrivão, Herman Melville. Nosso objetivo não será analisar tais obras, mas, a partir delas, observar alguns dos procedimentos que levam ao Fora. Portanto, tomaremos delas apenas os recortes necessários. Falaremos do que força o pensamento a pensar, do que antecede o pensar. Falaremos do Fora e do plano de imanência; dos corpos sem órgãos; dos devires moleculares e molares. Falaremos de linhas; pontos, encontros, fugas; máquinas; superfície de registro; produção, processo; fluxos e rupturas. Falaremos de limiares; entremeios; gradientes; fragmentações; linhas e margens que se desmancham, desdobram, invaginam, explodem; intensidades e potências; territorialização e desterritorialização. / What is proposed in this study is to investigate the procedures in a literary work lead to the effect of "Out in the language." What is this out? Range of effects that produce? What procedures exist to make it into a work of art, literature in particular? Here are some of the issues that concern us. To develop such a search to search out , we use as support and theoretical corpus authors who followed the trail out of the language , such as Roland Barthes , Maurice Blanchot , Gilles Deleuze , Félix Guattari Pierre - Tatiana Salem Levy , among others . Will be from five previously selected works will explore some of the procedures that lead to out , as well as its concept applied to literature : " The Third Bank of the River " and " My Uncle Iauaretê " , Guimarães Rosa , Mar Paraguayo , Wilson Bueno , Bodenlos : a philosophical autobiography, Flusser and Bartleby , the scribe Herman Melville . Our goal is not to analyze such works , but from them , watching some of the procedures that lead to out . Therefore , we will take them only the necessary cutouts . Talk about what force thought to think , from the foregoing thinking . We will speak out and the plane of immanence ; bodies without organs , the molecular and molar becomings . We will talk about lines , points , meetings , trails , machinery, surface registration , production , process, flows and ruptures . Speak of thresholds ; inset ; gradients ; fragmentation ; lines and edges that crumble , unfold, invaginate , explode , intensities and powers ; territorialization and deterritorialization.