Made available in DSpace on 2015-05-07T14:46:42Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2506669 bytes, checksum: ed50b763c14dd9a889707fc4ad6a1916 (MD5) Previous issue date: 2013-04-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The need of creating new means of communication guided by paradigm changes which comes out with the technological and technical development as well as by the manifestation of new cultures and economies in society, is more and more latent. Among these technological transformations, the poster would suffer some limitations consequences due to its printed graphics characteristics but as appropriated by the midiatic digitalization, this advertising gender presents nowadays some forms and interactive digital resources which were never seen before. Triggered by the midiatization processes and by digital culture, the instauration of technomediations established in the poster a new means of communication and relationship with an individual as well as with the environment in which he is inserted and so, fomenting a dynamic interaction of the digital resources available in this era. Nevertheless, wouldn´t it be normal that a means with such static and printed visual characteristics lose its functionality once it was reconfigured? While allowing the interaction and the link of devices to its support wouldn´t it be allowing it to be considered a poster? Such questionings are fundamental to this work which aims at trying to demonstrate the paradigm changes of the poster together with the technological innovations which have been going on till the digital culture in which it is inserted as a new social practice. We will also try to show the implications this new use of this means of communication is evoking in society: changes in collective environment, new relations of interaction of the individual with the digital, etc. So, we raise the hypothesis that despite the digital alterations the poster has suffered, it is still characterized and recognized as such, demonstrating the ability of adaptation and development it has along with the technologies of the time in which it is inserted. / A necessidade de criação de novos meios de comunicação guiada pelas mudanças de paradigmas que se apresentam com o desenvolvimento técnico e tecnológico, bem como pela manifestação de novas culturas e economias na sociedade, está cada vez mais latente. Em meio a estas transformações tecnológicas, o cartaz bem que poderia sofrer consequências de limitação dadas as suas características gráficas impressas. Entretanto, sendo apropriado pela digitalização midiática, este gênero propagandístico apresenta hoje formas e recursos digitais interativos nunca antes visto neste meio. Provocada pelos processos de midiatização e pela cultura digital, a instauração das tecnomediações estabeleceu no cartaz um novo tipo de comunicação e relacionamento tanto com o indivíduo como com o entorno em que está inserido, instigando assim, uma interação dinâmica a partir de recursos digitais próprios desta nova era. Porém, não seria de se esperar que o cartaz, em meio às características estáticas e impressas, pudesse perder sua funcionalidade uma vez reconfigurado? Ao permitir a interação e a adesão de dispositivos em seu suporte, não estaria deixando de ser considerado um cartaz? Tais questionamentos são fundamentais para este trabalho, no qual evidenciaremos as mudanças de paradigmas do cartaz em conjunto com os avanços técnicos e tecnológicos que foram se dando com o passar do tempo, até chegarmos à cultura digital, em que está inserido como nova prática social. Também procuraremos demonstrar as implicações que estas novas práticas de uso deste meio está provocando na sociedade: mudanças nos ambientes coletivos, novas relações de interação dos indivíduos com o digital etc. Sendo assim, levantamos a hipótese de que apesar das alterações digitais provocadas no cartaz, este meio continua sendo caracterizado e reconhecido como tal, demonstrando a capacidade que possui de adaptação e desenvolvimento junto às tecnologias da época em que se encontra inserido.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação investiga a trajetória de Glauber Rocha e sua articulação com o contexto cinematográfico, cultural e político no Brasil e no exterior. A partir de fundamentação semiótica, investigamos os cartazes produzidos para filmes de Glauber Rocha, diretor de cinema e expoente do Cinema Novo. Por meio da identificação na filmografia de Glauber dos filmes que dispuseram de cartazes, e do estudo de cada um destes casos em particular, segue-se a verificação da representação de conteúdos de cada filme em seus respectivos cartazes. A dissertação conta ainda com um capítulo ao final dedicado à análise do conjunto de cartazes frente à referida filmografia em sua totalidade. / The present dissertation investigates the trajectory of Glauber Rocha, film director, and exponent of Cinema Novo, his articulation with the cinematographic, cultural and political context, in Brazil and internationally. Based on a semiotic foundation, it analyses the posters produced for the directors films. Through the identification in Glaubers filmography of the films that disposed of posters and the study of each of these cases individually, follows the semiotic analysis seeking to verify the representation of contents from each movie in his respective poster. The dissertation still counts with a chapter at the end devoted to the analysis of the set of posters referring to the filmography in its totality

The thesis has two main goals. The first one, which is going to be achieved in the theoretical part, is to offer a satisfactory overview of a range of fundamental concepts covering the subject of starting and running a new business. In particular, a range of definitions, legislation matters and procedures will be offered. The second goal is to research a particular business idea and determine, whether the idea is likely to succeed. The practical part of the thesis explains and describes this particular business idea and offers a business plan mainly dealing with marketing, technical, financial, risk and future growth matters.

The purpose of this study is two-fold: 1. to determine whether or not certain poster presentations affect the food acceptance of elementary school children, and 2. to determine which method of presenting a poster had the most affect upon the child's food acceptance.

Posters by Jaroslav Sůra The topic of this theses are the posters from the painter, graphic artist and illustrator Jaroslav Sůra (1921-2011). It is based primarily on his estate, that counts over 120 posters. For the comprehensive elaboration of his works this source is compared with other found designs. The theses follows his works chronologically and is divided into two main parts. The first is devoted to his studies and the beginnings of his artistic activity regarding fine art. The second, main part, focuses on posters itself. The chapters of this part detailly describe his works and put them into the context of contemporary art production.

Master’s thesis is concerned with ethics of company RENGL, s.r.o. Through the use of list of questions I ascertained opinions of customers of ethics of services and employees and also opinions of ethics of posters.

Diese Miszellen zur Eisen- und Römerzeit sind Ihnen, liebe Frau Professor Rieckhoff zu Ihrem 60. Geburtstag gewidmet. Wir werden diesen Tag, den 10. August 2004, mit Ihnen und Ihrem Mann Dr. Ulrich Hesse auf dem Mont Beuvray in Burgund ausgiebig feiern. Damit aber auch die Wissenschaft nicht zu kurz kommt, haben wir, Ihre Mitarbeiter und Schüler, diese Ausgabe der Leipziger online-Beiträge zur Ur- und Frühgeschichtlichen Archäologie erstellt.

Dieses Kolloquium „Zur Eisenzeit zwischen Burgund und Osteuropa“ ist Ihnen, liebe Frau Professor Rieckhoff nachträglich zu Ihrem 60. Geburtstag gewidmet. Wir haben aber diesen Tag, den 10. August 2004, mit Ihnen und Ihrem Mann Dr. Ulrich Hesse auf dem Mont Beuvray in Burgund gefeiert. Dazu konnten wir Ihnen bereits die 15. Ausgabe der Leipziger online-Beiträge zur Ur- und Frühgeschichtlichen Archäologie überreichen und im Internet online präsentieren.

The author of the graduation research on the theme Visual Matter of Hezbollah on Southern Suburb of Beirut deals with the issue by unconventional approach of sociocultural anthropology. Through the application of Alfred Gell's and Robert Layton's art theory he assess what are the values incorporated in material culture of Hezbollah using to its self presentation. The author provides a description of examples and subsequently finds parallels in the material objects and what kind of an agency these objects are carrying. The paper is divided into theoretical and empirical part. The opening of the work also briefly deals with the history of Lebanon's shia confession and as well as history of the movement itself. Further, the empirical part is divided into three sections. The first is devoted to poster's and billboard's expression of Hezbollah, the second is focused on the urban estate of southern suburbs of Beirut and in the last section the author focused on small souvenir items and things of daily use. Finally, he concludes that the material culture of Hezbollah in Dahieh seem to be connected in logical but unexpected contexts - the art with politics, communication with the urban space and technology with culture. Moreover, the author also describes a noticeable trend in the commoditization of goods bearing...

Denna uppsats undersöker ett typsnitt för romerska bokstäver avsett att associeras till ”Kina” som en exotisk och lockande miljö, utifrån svensk visuell kulturhistoria. Typsnittet undersöks genom analyser av svenska filmaffischer av Eric Rohman (1891-1949) ur Charlie Chan-serien mellan 1934-1940, med fokus på filmaffischen Charlie Chan i Kina (1935). Genom bildanalyser och diskussioner utifrån de teoretiska ingångarna postkoloniala studier, kritiska vithetsstudier och visuella kulturstudier kommer undersökningen fram till att typsnittet, genom att efterhärma kinesisk kalligrafi, associerar filmaffischens text och då affischen i sin helhet till ”Kina” som en exotisk, traditionell och främmande miljö. Jag har även undersökt hur ”Kina” och ”kinesen” har konstruerats i svensk visuell kulturhistoria, och hur typsnitt som det i filmaffischen Charlie Chan i Kina kan förstås utifrån den. En slutsats är att typsnittet agerar ut en lagom ”kinesiskhet”, på så sätt att det är ”kinesiskt” och associerar till ett föreställt ”Kina”, samtidigt som det fortfarande är tillgängligt och läsbart för en vit svensk publik. / This essay examines a typeface used for Roman letters meant to connote ”China” as an exotic and foreign place, within Swedish visual culture history. I examine this typeface using Swedish film posters by Eric Rohman (1891-1949) from the Charlie Chan-series from the years 1934-1940, focusing on the poster Charlie Chan i Kina (1935). The purpose is to examine constructions of ”the Chinese” and ”China” in these posters, and how this specific typeface has been used in these depictions as well as been constructed in relation to these ideas. Through a semiotic model for image analysis and the appliance of postcolonial studies, critical race theory and visual culture studies, I arrive at several conclusions. By imitating Chinese calligraphic visual elements, the typeface in Charlie Chan i Kina has the ability to connote ”China” as an exotic, traditional and foreign place, for a white Swedish audience. The analysis discusses the semiotic functions of the typeface in relation to contexts of the film poster, Swedish visual culture history and discourses concerning race in Sweden.