Successful participation in a discursive genre a recurrent human activity, culturally situated, mediated by semiotic resources and practiced for specific purposes demands an array of diverse knowledges, starting from the production, circulation and consumption conditions of the genre up to the elements that constitute its textual materiality (visual and verbal language). In the academic universe, different discursive genres demand this kind of knowledge from the participants. Among them, the academic poster, a genre that represents a visual and a very summarized version of an academic article (MACINTOSH-MURRAY, 2007). After these considerations, this research aims to investigate the academic poster as a multimodal discursive genre, analyzing the role of verbal and non verbal languages in the constitution of the rhetorical organization of the poster, in order to offer guidelines for the elaboration and the reading of this genre in the academic context. We start from the theoretical-methodological reference of Critical Genre Analysis (MOTTA-ROTH, 2008), according to which the study of discursive genres necessarily considers two research dimensions: text and context . Thus, the corpus includes as text , 8 academic posters of the Linguistic/Languages and Biological Science areas, presented in the 27th Integrated Academic Journey of the Federal University of Santa Maria/RS, in 2012; and, as context , 34 interviews conducted with academic posters authors context of production and with readers (evaluators) context of consumption of this genre, participants in the event. Contextual analysis indicated that academic poster is considered predominantly a genre whose textual organization approaches to the scholarly article, with more intense exploitation of image posters Biosciences than posters of Letters, as attractive and presentation of information resource. These contextual data, among others, helped in the reading and interpretation of functional textual elements (verbal and nonverbal) in the configuration of the rhetorical organization of the corpus posters. The analysis showed the functional organization of the academic poster genre in seven rhetorical movements: Movement 1 Identify the Research; Movement 2 Situate the Research; Movement 3 Present the Research; Movement 4 Describe the Methodology; Movement 5 Present the Result(s); Movement 6 Discuss the Research; Movement 7 Indicate Bibliographic References. Besides the verbal language, the non verbal language showed significance in the configuration of Movements 5 Present the Result(s) and 6 Discuss the Research, and, in the case of Biological Science, the non verbal language predominated in Movement 5 Present the Result(s). Thus, these movements, associated with the roles of verbal and non verbal languages, indicate how the academic posters realize their communicative purpose of presenting a research in a summarized form. The results point to the fact that the participation in the academic poster genre demands multiliteracies, at least in the context of the UFSM. / A participação bem sucedida em um gênero discursivo atividade humana recorrente, culturalmente situada, mediada por recursos semióticos e praticada para fins específicos demanda saberes de diversas ordens, desde as condições de produção, circulação e consumo do gênero até os elementos que constituem a sua materialidade textual (linguagem verbal e visual). No universo acadêmico, diferentes gêneros discursivos exigem esse conhecimento de seus participantes. Entre eles, está o pôster acadêmico, um gênero que representa uma versão visual e muito resumida de um artigo acadêmico (MACINTOSH-MURRAY, 2007). A partir dessas considerações, a presente pesquisa busca investigar o pôster acadêmico como gênero discursivo multimodal, analisando o papel das linguagens verbais e não verbais na constituição da organização retórica do pôster, com vistas a gerar subsídios para a elaboração e leitura desse gênero na esfera acadêmica. Parte-se do referencial teórico-metodológico da Análise Crítica de Gênero (MOTTA-ROTH, 2008), segundo a qual o estudo dos gêneros discursivos engloba necessariamente duas dimensões de pesquisa: texto e contexto . Nesse sentido, o corpus inclui, como texto , 8 pôsteres acadêmicos da área de Letras/Linguística e Ciências Biológicas apresentados na 27ª Jornada Acadêmica Integrada da Universidade Federal de Santa Maria/RS, em 2012, e, como contexto , 34 entrevistas realizadas com autores de pôsteres acadêmicos contexto de produção e com leitores (avaliadores) contexto de consumo do gênero, participantes do evento. A análise contextual apontou que o pôster acadêmico é considerado predominantemente um gênero cuja organização textual se aproxima à do artigo acadêmico, com exploração da imagem mais intensa em pôsteres das Ciências Biológicas do que em pôsteres das Letras, como recurso atrativo e de apresentação das informações. Esses dados contextuais, entre outros, ajudaram na leitura e interpretação dos elementos textuais (verbais e não verbais) funcionais presentes na configuração da organização retórica dos pôsteres do corpus. A análise textual revelou a organização funcional do gênero pôster acadêmico em sete movimentos retóricos: Movimento 1 Identificar a Pesquisa; Movimento 2 Situar a Pesquisa; Movimento 3 Apresentar a Pesquisa; Movimento 4 Descrever a Metodologia; Movimento 5 Apresentar o(s) Resultado(s); Movimento 6 Discutir a Pesquisa; Movimento 7 Indicar Referências Bibliográficas. Além da linguagem verbal, a não verbal mostrou-se significativa na configuração dos movimentos 5 Apresentar o(s) Resultado(s) e 6 Discutir a Pesquisa, e, no caso das Ciências Biológicas, a linguagem não verbal predominou na realização do Movimento 5 Apresentar o(s) Resultado(s). Assim, esses movimentos, associados ao papel das linguagens verbal e não verbal, indicam como os pôsteres acadêmicos realizam seu propósito comunicativo de apresentar de forma resumida uma pesquisa. Os resultados indicam que a participação no gênero pôster acadêmico, pelo menos no contexto da UFSM, demanda multiletramentos.

Esta pesquisa apresenta o cartaz de teatro com o intuito de desvendar sua participação como elemento artístico no contexto do espetáculo e sua capacidade de conservação da memória teatral por meio de imagens. Para isso, faz um resgate histórico do cartaz como ferramenta de comunicação, entrecruzando seu caminho à sua utilização na divulgação de espetáculos teatrais. Realiza uma análise dos cartazes dos grupos mais atuantes e longevos de Uberlândia: Grupontapé, Trupe de Truões e Confraria Tambor, produzidos entre 1994 a 2014, tecendo inter-relações entre as imagens, o enredo, a proposta cênica e a visualidade dos espetáculos. Descortina a relação do cartaz com os grupos de teatro, sua estrutura produtiva e preferências estéticas. Apresenta também a trajetória pessoal deste pesquisador e suas investidas como ator-designer no contexto teatral local. / This research presents the theater poster in order to unravel its participation as an artistic element in the spectacle context and its conservation capacity of theatrical memory through images. For this, makes a historical review of the poster as a communication tool, crisscrossing it way to its use in publicity for theatrical performances. Proceeds an analysis of the posters of the most active and old groups of Uberlândia: Grupontapé, Trupe Truões and Confraria Tambor, produced between 1994-2014, weaving interrelations between images, the plot, the scenic proposal and visuality of the shows. Unveils the poster 's relationship with the theater groups, its production structure and aesthetic preferences. It also shows the personal trajectory of this researcher and his participation as an actor - designer in the local theater context. / Dissertação (Mestrado)

Im Volltext enthalten sind alle Abstracts der Posterbeiträge, die im Rahmen des 3. Dresdner Werkstoffsymposium präsentiert wurden.:Frank Henschel, Stefan Enghardt, Jürgen Bauch: Oberflächennahe Diagnostik ̶ Halbautomatisierte Eigenspannungsmessung mittels Fokalkurven O. Berger, C. Leyens, S. Heinze, M. to Baben, J.M. Schneider: Einfluss der Y-Dotierung auf den Oxidationsmechanismus von Cr2AlC-MAX-Phasen-Schichten für Luftfahrtanwendungen im Temperaturbereich 700-1200°C Richard Trache, Roberto Puschmann, Björn Matthey, Lutz-Michael Berger: Thermisch gespritzte Ti3SiC2- und Ti2AlC-Beschichtungen Ariane Straubel, Simone Friedle, Nadine Nießen, Christoph Leyens: Hochtemperaturschichtsysteme für Titanaluminide Benjamin Kruppke, Thomas Rauscher, Hans-Peter Wiesmann, Michael Thieme: Elektrochemisches Verhalten von Aluminiumlegierungen zum kathodischen Korrosionsschutz von hoch legierten Stählen unter Bedingungen des maschinellen Geschirrspülens Carlotta N. Dietel: Optimierte Oberflächeneigenschaften mittels Plasma-Behandlung Jiaqi Jia, Michael Thieme: Vergleichende Untersuchungen zur Präparation superhydrophober Aluminium-Oberflächen und ihrer Charakterisierung Dirk Spitzner, Ute Bergmann: Schaltbare eisabweisende Oberflächen Sabine Matys, Klaus Kühn, Annegret Benke, Jochen Förster, Linda Deutscher, Sara Teixeira, Hoai Nga Le, Gianaurelio Cuniberti: Nanopartikuläre Materialien für die Wasserbehandlung Antje Schlieter, Christoph Leyens, Tetsuya Takahashi, Mona Naderi, Peter Jaschinski, Rainer Cremer: Nanolaminare Schichtsysteme für Umformwerkzeuge Mario Spindler, Andreas Winkler, Siegfried Menzel, Hagen Schmidt, Jürgen Eckert: Biokompatibel verkapselte SAW-Bauelemente Henning Turnow, Horst Wendrock, Siegfried Menzel, Thomas Gemming, Jürgen Eckert: Amorphous Thin Films for Metallic Microtubes Benjamin Kruppke, Christiane Heinemann, Thomas Hanke, Hans-Peter Wiesmann, Sascha Heinemann: Einfluss verschiedener Calciumphosphatphasen auf die Bioaktivität, Biokompatibilität und biaxiale Festigkeit von Silikat/Kollagen-Xerogelen Susanne Höhne, Annette Breier, Thomas Hanke, Hartmut Worch, Frank Simon: Heterogene Sulfatierung von Chitosan Marie-Theres Weber, Matthias Hannig, Christian Hannig: Die Mundhöhle – ein leicht zugängliches In-situ-Modell zum Verständnis von Bioadhäsionsprozessen Arne Helth, Stefan Pilz, Rebecca Medda, Annett Gebert, Ada Cavalcanti-Adam, Mariana Calin, Ute Hempel, Jürgen Eckert: Development of new β-Ti alloys for hard tissue replacement Ksenia Zhuravleva, Sergio Scudino, Mariana Calin, Annett Gebert, Ludwig Schultz, Jürgen Eckert: Porous low-modulus Ti-40Nb compacts provided with hydroxyapatite coating for biomedical applications

The theme of this thesis is based on my interest in art around 1900and follows my Bachelor thesis. In chronological sequenced chapters will show Arnošt Hofbauer's life story and describe his artistic development, among others it will also analyze foundation of S. V. U. Mánes, periodical Volné směry etc. In the end of the thesis I attached the catalogs of his work from public and private collections for a complete view of his work. The aim of this thesis is to present Hofbauer's creative work in the most integrated form and in cultural-historical context. I attempt to evaluate his position in the Czech art history.

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Ämne: Valaffischer som en del av politisk kommunikation och teorin kring ideologins död. Syfte: Syftet är att fastslå graden av politisk ideologi och/eller överideologi som är närvarande i riksdagspartiernas valaffischer inför riksdagsvalet 2014. Teori: Utifrån semiotik och retorisk analysera valaffischer med teorin om ideologiernas död som utgångsperspektiv. Metod: Kvalitativ innehållsanalys med semiotisk utgångspunkt i text och bild av valaffischer. Resultat: Studien visar att politisk ideologi är närvarande i alla respektive åtta valaffischer, ändock i varierande grad. I många fall visar de verbala och visuella elementen på flera olika, ibland motsägelsefulla, ideologier även om en dominerande kan fastställas. Valaffischerna är till sin karaktär slagkraftiga och enbart tendenser av teorin om ideologins död har förekommit. Många ideologiska element platsar inte in i kriterierna för någon av de tre klassiska ideologierna, vilket möjligen kan innebära att nya ideologier uppstått med andra grundvärderingar och förslag till konkret handlande. Överlag går det att utröna politiska ideologier hos valaffischerna. I de flest fallen har ideologierna varit av traditionell karaktär, eller i en ny kombination av dem. Trots att överideologiska tendenser framkommit har dessa varit i mindre grad. / Subject: Election posters as part of political communication and the theory of the death of ideology. Purpose: The purpose is to determine the degree of political ideology and/or signs of the death of ideologies, which are to be found in the parliamentary parties’ election posters for the general elections in 2014. Theory: Based on the theory of the death of ideology, the election posters will be analyzed in a perspective rooted in semiotics and the rhetorical argumentations model. Method: Qualitative content analysis based in semiotic, analyzing the verbal and visual elements of election posters. Results: The study reveals that political ideology is present in all of the analyzed election posters, although to a varied degree. In many cases the verbal and visual elements in various, sometimes contradictory, ideologies although a dominant one can be determined. Election posters are by nature powerful and show only tendencies of the theory of the death of ideology. Many ideological elements do not match the criteria for any of the three classical ideologies. This could possibly mean that new ideologies have arisen with other values and proposals for concrete actions. Furthermore, the result in the analysis of the visual elements around and on the party leader can have different functions. They reinforce firstly the textual messages and secondly build support for it through visual features that signal safety and security.

L’existence et la mise à disposition d’un important matériau documentaire composé d’archives visuelles(affiches, photographies, films) ont révélé les potentialités d’une recherche approfondie et systématique sur lesmodalités de création d’images par l’entreprise de chocolats Suchard de 1945 à 1990, date qui correspond à lafermeture des ateliers de fabrication de Neuchâtel. Cette recherche est l’occasion de développer dessoubassements méthodologiques à même de participer au renouvellement de l’histoire d’entreprise par lerecours à des sources permettant d’en saisir l’univers visuel. La création des images se réalise au travers d’unecollaboration entre des acteurs internes et externes à l’entreprise. La seconde moitié du XXe siècle correspondà une professionnalisation de la fabrique d’images au cours de laquelle les différents supports s’accumulent,mais aussi s’articulent, se complètent ou parfois se concurrencent, au sein de la pratique de l’entreprise. Lesphotographies se font le reflet d’événements, positifs ou négatifs, qui agissent directement sur la fabrication.Elles apparaissent comme un outil de relations publiques, notamment au travers de la médiatisation des visitesd’usine. Les films institutionnels se veulent le reflet d’une évolution plus structurelle de l’entreprise, sensiblesà sa raison sociale, à sa diversification, à son implantation. Au niveau des collaborateurs, l’image permetd’accroître la reconnaissance envers des corps de métiers qui ne sont en contact avec les autres queponctuellement. Quant aux machines, elles peuvent constituer autant un facteur favorable que défavorable àl’image de l’entreprise. Les facteurs incitant l’entreprise à représenter la machine permettent de définir lescontours du concept de modernité. Jusqu’au milieu des années 1970, l’image productive, incarnée par uneorganisation systématique des ateliers et des machines, prend un sens positif. Dans la seconde moitié desannées 1970, en période de récession économique, la machine permet une réduction des coûts de fabricationpar une diminution de la masse salariale. Sur le plan de l’image du produit, l’étude montre qu’il faut sedébarrasser de l’association unique du chocolat suisse avec la montagne. Cette construction est largement lereflet d’un regard de l’étranger et ne constitue pas une constante en Suisse. Depuis le début des années 1950 etpendant plus d’une vingtaine d’années, le chocolat Milka n’est pas associé à l’image du lait et de la montagne,mais bien à un environnement urbain. Ce refus de « suissitude » pendant les Trente Glorieuses s’évanouit dansles années 1970 en partie sous l’impulsion de l’étranger. Suchard renoue alors avec les symboles alpestresfondamentaux. / The existence and availability of an important documentary material composed of visual archives (posters,photographs, films) have revealed the potentialities of a thorough and systematic research on how thechocolates company Suchard, based in Neuchâtel (Switzerland), created images from 1945 to 1990, date of theclosure of the manufacturing facilities. This research is the cause of developing methodological foundationsable to participate in the renewal of business history by the use of visual sources. The creation of images wasmade by actors both within and outside the company. The second half of the twentieth century correspond to aprofessionalization of the “picture factory” in which different media pile up, articulate, complete or compete.Photographs reflect positive or negative events directly linked with the production state. They appear as apublic relations tool, particularly through the factory visits. Films are intended to reflect an institutionalevolution of the company, sensitive to its name, its diversification, its implementation. Regarding to theproduction image, staff pictures enhance the recognition for the employees that are only occasionally incontact with others. The machines are as much a favourable as an unfavourable factor for the enterprise’simage. Factors inciting the company to represent the machine make it possible to define the concept ofindustrial modernity. Until the mid-1970s, productive image, embodied by a systematic organization ofworkshops and machines, takes a positive sense. In the second half of the 1970s, in times of economicrecession, the machine reduces manufacturing costs by reducing payrolls. In terms of the product image, thestudy shows it takes to get rid of the unique association of Swiss chocolate with the mountains. Thisconstruction is largely a reflection of a view from abroad and is not a constant in Switzerland. Since the early1950s and for over twenty years, Milka chocolate was not associated with the image of milk and mountains,but with an urban environment. This refusal of “Swissness” during the post-war boom faded in the 1970s,partly under the impetus from abroad. Suchard then revived with the basic alpine symbols.

This thesis is about covers of books and DVD movies. I have tried to find out if the visual communication of the covers differs between the book and movie with the same story. Do they appeal to different target groups? I have also been trying to find out what designers can do to increase the visibility of covers among others. Are there certain rules to follow for making a cover visible? To reach a conclusion I have been studying components in advertising pictures, since covers work as a kind of advertiser for the product. I have also been studying visual communication and how designers use advertising pictures to communicate with the observer. Semiotics, advertising and comparisons between the covers have been my method for analyze. I have come to the colclusion that covers of books and DVD movies do communicate in different ways and partly to different target groups. There are certain rules to follow if you want to increase the visibility of a picture among others. The results indicate that the book covers have an older target group than the DVD covers.

This thesis focuses on the work of the Čapeks Brothers and monitors their premonition of a coming destruction, the World War II. It consists of two parts theoretical and practical. The practical part presents poster set freely interpreting a Hugo Haas film The White Disease.

This is a multimodal discourse analytical study about national identity in russian film posters specifically in regards to four themes, posters that demonstrates wars, conflicts, violence or weapons. The aim of the study is to illustrate how national identity is portrayed in russian film posters, in relation to these four above themes from the start of the Soviet union 1922, until the end of the union 1991, plus four years ahead. This is studied by looking at how these four above themes are emphasized during different time periods, how the common history is described during different time periods, which similarities and differences that can be deduced from this, and how the question “who are we as a nation?” can be deduced from the pictures. The study also discusses the problem regarding media and its potential to influence, with a focus on the film media and the film poster, since these mediums have a huge potential to create a certain imagined community. For this reason it becomes important to understand who controls the media, since the one with control also beholds the power to decide what the nation identity should consist of, and how it should be portrayed. The study shows that the national identity in russian film posters is portrayed with a strong interconnection to wars, conflicts, violence and weapons during the whole investigation period, but how these themes are portrayed differs between the early/mid Soviet period and the late/post-Soviet period. The early/mid period puts a focus mainly on a strong patriotism where the soldier and the hero are frequently used motifs, which could be interpreted as motifs that are meant to eliminate questions about death in relation to wars. This could be seen as a result of an autocratic state controlled media. The late/post period instead emphasizes a criticism interconnected with conflicts with a focus on motifs like blood and dead bodies, that could be interpreted as motifs that demonstrate the tragic consequences of a violence. This could instead be seen as a result of a media that has been affected by a public sphere that has opened up, where the citizens are allowed to voice their opinions. The similarities is henceforth that the whole investigation period emphasizes a russian hegemony that puts a focus on the “russian” of the nation. The study recommends further studies in the area, either by investigating more themes in regards to film posters and national identity, or by investigating how another country portrays the national identity or the common history, there amongst war memories, in a media material. / Det här är en multimodal diskursanalytisk studie om gestaltning av nationell identitet i ryska filmaffischer, specifikt kopplat till fyra teman, affischer som gestaltar krig, konflikter, våld eller vapen. Studien har som syfte att illustrera hur nationell identitet uttrycks i ryska filmaffischer, kopplat till dessa fyra ovan teman från Sovjetunionens start 1922, till efter dess fall 1991, och fyra år framåt. Detta studeras genom att titta på hur dessa fyra ovan teman har betonats under olika tidsperioder, hur den gemensamma historieskrivningen har gestaltats under olika tidsperioder, vilka likheter och skillnader som går att utläsa från detta, samt hur frågan om “vem är vi som nation?” kan utläsas ur bilderna. Studien diskuterar även problematiken kring media och dess påverkanspotential i speciellt avseende till filmmediet och filmaffischen, då dessa medium har potential att skapa en viss föreställd gemenskap. Problematiken blir därmed vem som har kontroll över filmmediet, då den som har kontroll är den som besitter makten att bestämma vad nationsidentiteten ska bestå av och hur den ska gestaltas. Studien visar att den nationella identiteten uppvisar en stark koppling till krig, konflikter, våld och vapen under hela undersökningsperioden, men hur dessa teman gestaltas skiljer sig dock åt från tidiga/mitt Sovjettiden till sena/post-Sovjet tiden. Den tidiga/mitt perioden lägger främst fokus på en stark patriotism där soldaten och hjälten är vanligt förekommande motiv, som kan tolkas som motiv som ska eliminera frågor om död i samband med krig. Detta kan vidare tolkas som ett resultat av att en autokratisk stat har kontrollerat media. Den sena/post perioden betonar istället en kritik i samband med konflikter genom ett fokus på motiv som blod och döda kroppar, som kan tolkas demonstrera de tragiska konsekvenserna av ett våld. Detta kan istället tolkas som ett resultat av att media har påverkats av att en offentlig sfär har öppnats upp, där medborgare får lov att uttrycka sina åsikter. Likheterna är dock att hela undersökningsperioden betonar en rysk hegemoni som lägger fokus på det “ryska” i nationen. Studien rekommenderar fortsatt forskning av området, antingen genom att undersöka fler teman kopplat till nationell identitet i filmaffischerna, eller genom undersökning av hur andra länder länder gestaltar den nationella identiteten eller den gemensamma historien, däribland krigsminnen, i ett medialt material.