Made available in DSpace on 2016-04-27T19:30:57Z (GMT). No. of bitstreams: 1 Rogerio Souza Silva.pdf: 38406474 bytes, checksum: 13c790b2070c7cf6d92a60a27f050ed3 (MD5) Previous issue date: 2014-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis performs a discussion of the humorous production of Raul Pederneiras. The starting point of the research is the year 1898, when the artist published his first caricature, in O Mercurio. Aspects of modern urban area of Rio de Janeiro were among his favorite subjects. He noted the wide gap between a modernity seen as ideal, which was modeled on the North Atlantic world, and its application to the Brazilian reality. But his vision was global and international issues were among their concerns. Besides caricaturist, Raul Pederneiras wrote texts of humor with high quality, getting to play with words and making numerous puns. He was a multifaceted character, which made it more interesting. Among its activities, may be included journalist, playwright, poet, painter, composer, propagandist, police officer and professor of international law, having written several books in his career. The final milestone of the research is the year 1936, when Raul published his latest book, titled Musa travessa: ruma de rimas sem rumo, having already clear signs of decline in his artistic and intellectual production. In this historical moment, there is a look of the comedian to the change process by which the country was in that context / A presente tese realiza uma discussão da produção humorística de Raul Pederneiras. O marco inicial da pesquisa é o ano de 1898, quando o artista publicou a sua primeira caricatura, em O Mercurio. Os aspectos de modernidade do espaço urbano carioca estavam entre os seus temas prediletos. Ele notava o grande abismo existente entre uma modernidade vista como ideal, que tinha como modelo o mundo do Atlântico Norte, e a sua aplicação à realidade brasileira. Porém, sua visão era global e as questões internacionais estavam entre as suas preocupações. Além de caricaturista, Raul Pederneiras foi autor de textos de humor de grande qualidade, conseguindo brincar com as palavras e fazer inúmeros trocadilhos. Ele era um personagem multifacetado, o que o tornava mais interessante. Entre as suas atividades, podem ser incluídas as de jornalista, teatrólogo, poeta, pintor de quadros, compositor, reclamista, delegado de polícia e professor de direito internacional, tendo escrito vários livros na sua carreira. O marco final da pesquisa é o ano de 1936, quando Raul publicou o seu último livro, intitulado Musa travessa: ruma de rimas sem rumo, já havendo claros sinais de queda em sua produção artística e intelectual. Nesse momento histórico, nota-se um olhar do humorista para os processos de mudanças pelos quais o país passava naquele contexto

Esta pesquisa busca referências que especifiquem o Humor Gráfico como uma das formas com que se constrói o discurso jornalístico. Desenvolve a questão a partir do uso da imagem pelo homem desde a pré-história, ao definir os sinais e elaborar suas significações O fio condutor do trabalho sustenta que a imagem é detentora de linguagem própria e que cada ser humano possui mecanismos inatos para assimilar seu discurso não-verbal. O trabalho trata em sua parte final da configuração da imagem no mundo contemporâneo como uma linguagem já inserida no meio informativo, porém não reconhecida. / This research looks for references that specify the Graphic Humour as one of the ways with which the journalistic discourse is built. The issue is developed from the study of the use of the image since prehistory, when the man making forms into signs and elaborating their significances. The common thread of this work comes when sustaining that the image has its own language and that every human being possesses innate mechanisms to assimilate the no-verbal discourse of the images. At the final part, the work treats of the configuration of the image in the contemporary world as language already inserted in the informative discourse, but not yet recognized.

Les caricatures antisémites diffusées par Adrien Arcand (1899-1967), à Montréal, entre 1929 et 1939, sont porteuses d'un discours identitaire qui est axé sur la distinction entre les communautés juives et canadiennes-françaises. À l'instar des caricatures antisémites qui, depuis l'Affaire Dreyfus jusqu'à la fin de la Seconde Guerre mondiale, circulent en France et en Allemagne, les caricatures publiées par Arcand reposent sur un système manichéen qui oppose physiquement et moralement les constructions stéréotypées du Juif et de l'Occidental - plus précisément celle du Canadien français tel qu'on le retrouve dans l'imagerie diffusée dans la province de Québec. Ce mémoire se penche sur le discours identitaire qui ressort des différents comportements adoptés par les archétypes du Juif et du Canadien français à l'endroit de diverses représentations de monuments commémoratifs. Cinq comportements, ainsi que leurs interrelations, ont été étudiés à partir des discours sur l'altérité répertoriés par le sociologue Bruno Latour et les historiens de l'art Dario Gamboni et W. J. T. Mitchell : l'iconoclasme, le vandalisme, le fétichisme, l'idolâtrie et le totémisme. Cette analyse démontre que les différences comportementales entre les types du Juif et du Canadien français ne se situent pas sur le plan des types de comportements adoptés, mais plutôt sur celui de l'action opposée à l'inaction : le type du Juif est représenté comme un iconoclaste, un vandale, un idolâtre, un fétichiste et un totémiste, alors que le Canadien français est passif, voire dans certains cas, complètement absent, dans les caricatures mettant en scène des monuments commémoratifs. L'étude de la représentation des monuments commémoratifs diffusés dans les caricatures publiées par Arcand fait ressortir la présence d'un discours esthétique sur la modernité, au moment même où la modernité artistique s'instaure au Québec dans la pratique artistique et dans la critique d'art. Ce mémoire ancre ainsi la production caricaturale publiée par Arcand dans l'histoire de l'art au Québec. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Caricature, Monument commémoratif, Adrien Arcand, Antisémitisme, Comportement

Critics of Jane Austen’s Pride and Prejudice often tend to focus on the central characters but focus in this essay will be on the middle sister Mary Bennet. Author Alex Woloch claims in his book The One vs. the Many that Mary’s main function in the novel is to be a contrast to Elizabeth in order to fulfill her as a character. The purpose of this essay is then to show that Mary is an important character and what it is that makes Mary’s character different from her sisters’. A close reading of the novel has been applied in order to analyze Mary’s character and her function in the novel. The essay will show that Mary could be read as a representation of the women of her time who had more faith in themselves than to rely on men in order to have a secure future.

The objective of my research is to identify and analyze the techniques of exaggeration, simplification, and abstraction used by caricature and cartoon artists. I apply these techniques to an expressive 3D modelling process which is used to create building caricatures. This process minimizes the number of unimportant details and increases the recognizability of the buildings. Additionally, the building caricature process decreases the time spent modelling the buildings and reduces their overall file sizes. The building caricature process has been used to create other building caricatures, as well as interactive visualizations and 3D maps of the Texas A&M University campus.

<p>Critics of Jane Austen’s <em>Pride and Prejudice </em>often tend to focus on the central characters but focus in this essay will be on the middle sister Mary Bennet. Author Alex Woloch claims in his book <em>The One vs. the Many </em>that Mary’s main function in the novel is to be a contrast to Elizabeth in order to fulfill her as a character. The purpose of this essay is then to show that Mary is an important character and what it is that makes Mary’s character different from her sisters’. A close reading of the novel has been applied in order to analyze Mary’s character and her function in the novel.<em> </em>The essay will show that Mary could be read as a representation of the women of her time who had more faith in themselves than to rely on men in order to have a secure future.</p>

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Pastaruoju metu kilę vietiniai ir tarptautiniai konfliktai žiniasklaidoje vis dažniau priverčia atsigręžti į pamatinę jos vertybę - žodžio laisvę. Skirtinga šios sąvokos samprata dažnai tampa nesutarimų objektu, todėl žiniasklaidos vaidmuo ją pateikiant bei formuojant labai svarbus. Taigi, darbo tikslas yra ištirti pranašo Mahometo (angl. k. Mohammad) karikatūrų atvejo vaizdavimą Lietuvos žiniasklaidoje ir nustatyti, kokios reakcijos, požiūriai atsispindi žodžio laisvės problematikoje. Iš pradžių, tikslui pasiekti gilinamasi į pačios demokratiškos žiniasklaidos sampratą, žodžio laisvę ir esminius jų pokyčius moderniųjų technologijų amžiuje. Toliau, siejant žodžio laisvę su politinių karikatūrų žanru, atskleidžiamas jų prieštaringas santykis. Tuo pačiu supažindinama su pranašo Mahometo karikatūrų atveju ir reakcijomis užsienio žiniasklaidoje. Galiausiai, pateikiama įvykio analizė Lietuvos spaudos ir internetinės žiniasklaidos priemonėse, išskiriant savitus bruožus iš kitų užsienio šalių ir nustatant dominuojančią poziciją žodžio laisvės aspektu. Pagrindinis darbo objektas – Mahometo karikatūrų atvejis Lietuvos žiniasklaidoje – yra tiriamas taikant kiekybinės ir kokybinės turinio analizės metodą. Toks pasirinkimas suteikia galimybę plačiau ir giliau pažvelgti į konkrečios žiniasklaidos priemonės indėlį formuojant tarptautinį įvykį, skatinant tarptautines diskusijas, o taip pat palyginti duomenis tarptautiniame kontekste. Gautos tyrimo išvados parodo, kad Mahomedo karikatūrų... [toliau žr. visą tekstą] / The latest local and international conflicts forced to look back to the democratic society’s value – freedom of speech. Different conceptions become an axis of the conflict, so the role of media is very important in constructing and presenting it. That’s why this work’s goal is to research specific international event, Mohammed’s cartoon controversy in Lithuanian media, and to define the reactions and opinions which reflect the freedom of speech problematic. At first, the research was concentrated on democratic media conception, freedom of speech and there fundamental changes in modern technology age. Further, looking for the connection between freedom of speech and political caricature genre, it is tried to reflect the controversial connection. At the same time, I try to present the Mohammed’s cartoon controversy and reactions of it in foreign media. Last, this international event is analyzed in certain Lithuanian press and internet media, trying to characterize certain attributes from other countries and determine the dominated position in freedom of speech frame. The basic work’s object is Mohammed’s cartoon controversy in Lithuanian media. The investigation is made by using quantity and quality content analyzes. This type of this method gives the ability to look deeper in certain media tools and there affect to construction of international event, trying to stimulate international discus and compare data in international context. General research conclusions show that... [to full text]

在電腦硬體快速發展的時代，以前被視為只能在工作站上執行的3D繪圖現今也可以輕易地在普通的家用電腦上執行。藉著網路視訊攝影機低廉的價格以及其普及化的趨勢，我們設計一套兼顧快速以及經濟性的系統。使用者可以輕易自行架構攝影環境，不需專業的操作便可以自動產生立體的人臉誇張模型。另一方面我們改良並結合先前的2D誇張肖像漫畫研究，除了大幅提升五官定位的精確度外，藉著替換多張參考畫作，產生出來的模型可以呈現不同藝術風格的外觀，以供廣泛的娛樂用途。 / With the advances of hardware nowadays, the computation and demonstration of 3D graphics are readily attained on a personal computer. At the same time, thanks to the prevalence of instant messaging software, webcam has become very popular. These combined factors have motivated us to design an economic and effective solution for general users to create their own 3D caricature models without complex procedures or instructions. In this thesis, we have developed a system which can extract and analyze facial features from an image pair captured by two webcams, and then generate a 3D face model based on it. Specifically, we improved previous research to obtain more accurate feature locations, and extended the exaggeration algorithm to generate more impressive effects. By fusing a caricature produced with different work as references, the system is capable of painting the face model with various artists’ styles.

Diss.--Fakultät für Linguistik und Literaturwissenschaft--Universität Bielefeld, 1991. / Bibliogr. p. 307-316. Index. Chronol.