From 1972 until 1989, the artist trio General Idea produced FILE Megazine. The first eight issues of FILE, published from 1972 – 1975, are the focus of this thesis. They stand apart from the later issues because their covers hijacked the look and iconic logo of Life magazine. The red rectangle with white block letters attracted the attention of Time Inc. and resulted in a lawsuit. Rather than fight the corporate giant, General Idea changed their logo after the autumn 1975 issue. FILE, like many artists’ magazines, is typically discussed in idealistic language that privileges the subversive or democratic intentions of the publication while neglecting its significance as a device for the promotion of community and collaboration. I argue that General Idea envisioned FILE as a utopian project intended to produce the world they sought to live in. Authors frequently employ FILE as a tool to discuss General Idea’s work, focusing on it as a mirror or archive of a larger project and emphasizing FILE’s humorous, bawdy, and irreverent aspects. In this thesis, I situate FILE in terms of its historical, art historical, and theoretical frameworks. I pay particular attention to General Idea’s early involvement in the mail art network, FILE’s relationship to 1960s and 1970s artists’ magazines and magazine art, the contemporaneous social and political climate in Canada, and General Idea’s investigation and employment of theoretical frameworks culled from Marshall McLuhan’s text The Medium is the Message and Roland Barthes’ book Mythologies. / text

I denna uppsats studeras vilka teman, samt vilka formala och estetiska likheter och skillnader som förekommer i tävlingen Årets Bild, med fokus på vinnarbilderna under åren 2004-2014 i kategorin med samma namn. En innehållsanalys har gjorts på de elva bilderna och även en mer djupgående semiotisk och formal analys på fyra av dessa. Materialet blir belyst utifrån Susan Sontags teorier om att se andras lidande, Greenwood och Smiths undersökning av tävlingen Picture of the Year, samt Roland Barthes teorier om text och bild. Resultatet av studien visar att de teman som främst förekommer inom tävlingen är brott/terrorism och att bilderna nästan uteslutande avbildar en händelse efter att de ägt rum. Resultatet visar att text och bild hör ihop och att bilderna i många fall förlorar sin betydelse utan en beskrivande text. Tolkningen av bilderna är beroende av texter som placerar dem i en kontext. Över lag visar bilderna på lidande av olika slag. Det kan vara långvarigt lidande, framtida lidande eller direkt lidande- som direkt visar på döda eller skadade människor. De bilder som är mest brutala är de bilder som visar på händelser nära eller i Sverige.

A new class of photographs that relies on digital processes, best exemplified by the works of Gregory Crewdson, Andreas Gursky and Jeff Wall all exhibit a ‘not quite right’ quality that calls into question some of the most closely held truisms of photographic thought. Through novel technological processes combined with the elements of the new photography—new scale, fabulist imagery, and implied narrative—these images challenge the nature of photography as a documentary process and, beyond that, the nature of what we understand to be ‘the real’ that is supposedly documented. A visual analysis of these images through the lens of Roland Barthes’ and Susan Stewart’s scholarship reveals truths about these images and about photography as a medium. What these elements, this ‘lack of rightness’, can tell us about photography and its position as documentary medium can help us better understand the nature of contemporary photography as a truly creative medium rather than a documentation of the real. These artists are engaging in a discourse of artifice, questioning the position of photographs as documents of how it was, revealing that not only is their work not a documentation of the world as it is, but that photography never was.

The aim this thesis is to analyse the narrative structure of the novel, The Portrait of A Lady, with the aim of revealing how meaning is made and to show how certain elements are transferred to the film version and the consequent changes in meaning and emphasis. The structural analysis of The Portrait will chiefly rely on Shlomith Rimmon- Kenan&rsquo / s scheme she draws in her book Narrative Fiction. The functional analysis to show the consequent changes in meaning and emphasis, on the other hand, will rely on Roland Barthes&rsquo / s theory of functions he discusses in his article &ldquo / Structural Analysis of Narratives&rdquo / . In order to explore the narrative structure of The Portrait of A Lady, this thesis will examine story, characterization, time and focalization and demonstrate the techniques Henry James uses in narration. In the functional analysis of the novel, on the other hand, the functions of the units discussed in the story and the characterization will be compared to the functions of the same units that are transferred to the adaptation of the novel to reveal how the meaning and emphasis of the novel changes.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-02T21:56:49Z No. of bitstreams: 1 SilviaBarbalhoBrito_DISSERT.pdf: 911490 bytes, checksum: e12288c825d13edcedbb789ab4058080 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-05T23:48:52Z (GMT) No. of bitstreams: 1 SilviaBarbalhoBrito_DISSERT.pdf: 911490 bytes, checksum: e12288c825d13edcedbb789ab4058080 (MD5) / Made available in DSpace on 2017-10-05T23:48:52Z (GMT). No. of bitstreams: 1 SilviaBarbalhoBrito_DISSERT.pdf: 911490 bytes, checksum: e12288c825d13edcedbb789ab4058080 (MD5) Previous issue date: 2017-07-28 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Este trabalho instaura uma discuss?o que p?e em cena o fazer cr?tico-liter?rio de Silviano Santiago a partir das fic??es O banquete (1977), Uma hist?ria de fam?lia (1992) e De c?coras (1999), para investigar as pot?ncias da literatura quanto aos comportamentos e pr?ticas da linguagem que se vinculam ?s concep??es semiol?gicas do pensador Roland Barthes, no que concerne ?s dimens?es suplementares da cultura e da civiliza??o revertidas na cozinha do sentido (2001): a realiza??o de uma feitura dos signos a partir da perspectiva de um cozinheiro cuja inventividade atinge uma singular produ??o do sentido, promovendo a ressignifica??o de m?ltiplos afetos, resist?ncias, cren?as, proibi??es ou tabus, morte e vida, transgress?es das significa??es humanas em permanente transforma??o. Essa constante reelabora??o, pulsante nos textos de Silviano Santiago, pode abrir fissuras e minar com as estruturas castradoras do pensamento, o que o situa fora da tradi??o interpretativa do c?none, do sublime, constituindo um contradiscurso capaz de provocar devires inesperados e insuspeitos. Os movimentos do organismo durante a alimenta??o (a percep??o, a digest?o e a excre??o ? processos de transforma??o do alimento e do corpo) s?o nossos desencadeadores da ressignifica??o dos sentidos. Em conflu?ncia com essa inusitada perspectiva barthesiana e a escritura do autor brasileiro, somamos o conceito de percep??o de Gilles Deleuze (2007), os devires e a constitui??o do corpo sem ?rg?os de Deleuze em parceria com F?lix Guattari (1996; 1997), o desconcertante sentimento do animal-estar de Jacques Derrida (2002), bem como outras inst?ncias da vertente filos?fica francesa do s?culo XX. Al?m dessas contribui??es, contamos com as diversas produ??es cr?ticas de Silviano Santiago, garantindo a heterogenia de seus escritos, uma vez que o escritor-cr?tico estimula o aproveitamento de sua po?tica em textos cr?ticos e o entendimento de sua literatura com pulsa??es ensa?sticas. Considerando as afinidades entre saberes como literatura, est?tica e filosofia, a fic??o de Silviano Santiago adentra na cozinha do sentido, manifestando, conforme Barthes, um discurso desconstrutivo que perfura o fascismo da l?ngua (1987), desfixando lugares, fazendo romper fronteiras e instaurando express?es n?o constitu?das (ou ainda porvir), sabores n?o experimentados, de onde emerge o novo. / This work establish a discussion that brings into play the make critic-literary of Silviano Santiago from fictions O banquete (1977), Uma hist?ria de fam?lia (1992) and De c?coras (1999), to investigate the powers of literature as the behaviors and practices of language that are linked to the semiologic conceptions of the philosopher Roland Barthes, in relation to the supplementary dimensions of culture and civilization reversed in the kitchen of meaning (2001): the realization of a making of signs from the prospect of a cook whose inventiveness achieves a singular production of meaning, promoting the resignification of multiple affections, resistance, beliefs, prohibitions or taboos, death and life, violations of human meanings in permanent transformation. This constant reworking, pulsating in Silviano Santiago?s texts, may open fissures and break with the castrating structures of thought, which places him outside the interpretative tradition of the canon, the sublime, constituting a counter discourse capable of causing unexpected and unsuspected becomings. The movements of the organism during eating (perception, digestion and excretion ? processes of transformation of food and body) are our triggers of the resignification of the meanings. In confluence with this unusual Barthes perspective and critical writing of the Brazilian author, we add the Gilles Deleuze?s perception concepts (2007), the Deleuze and F?lix Guattari?s becomings and the constitution of the body without organs (1996; 1997), the disconcerting feeling of the Jacques Derrida?s animal s?ance (2002), as well as other instances of the French philosophical strand of the 20st century. In addition to these contributions, we count on the various critical productions of Silviano Santiago, ensuring the heterogeneity of his writings, since the critical-writer stimulates the use of his poetic in critical texts and the understanding of his literature with essayistic pulsations. Considering the affinities between knowledge as literature, aesthetics and philosophy, the fiction of Silviano Santiago enters the kitchen of meaning, manifesting, according to Barthes, a deconstructive discourse that pierces the fascism of language (1987), unattaching places, making disrupt boundaries and establishing unincorporated expressions (or yet to come), flavors not experienced, from which emerges the new.

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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.

My purpose in this essay is to analyse sexual messages and symbolism in music videos. Sexual contact can be depicted in various ways, like symbols of something hidden, not only how men and women relate to each other through a sexual act. I’ve demarcated the study into two music videos: Rammsteins Pussy, and Tommy Chashs Surf, based on the videos controversial reputation from the public. My question at issue is how sexual messages depicture and how symbolism indicates. The study is based on a semiotic model based on Roland Barthes' theory of character, as he presents in the book, Elements of Semiology. The result of this study is that the depiction of sex in these videos is presented as a symbol of personal message, and as a provocation. It reflects previous views on sexuality through the centuries. The provocation itself reinforces the artists image.

Kurt Vonnegut Jr.’s literary style transforms from his first novel, "Player’s Piano" (1952), to his final book, "Timequake" (1997). Most of his novels adhere to a similar style – the narrators face a puzzling societal fault that is exaggerated in their dystopian societies, which hides Vonnegut’s humanistic leanings. This thesis, however, focuses on Vonnegut’s authorial identity, his use of the alter ego, and eventual entrance into the novel. His authorial role challenges the literary theory expressed in “The Death of the Author”(1967) by Roland Barthes and further discussed in “What is an Author”(1969) by Michel Foucault. Barthes explains an author metaphorically dies after his book is published and Foucault questions the author’s role and importance to his novel. Vonnegut juxtaposes fictional and nonfictional material whereby his character is paramount to his work. Therefore, Vonnegut challenges Barthes and Foucault’s notion that an author restricts his work; rather, Vonnegut’s identity empowers his novels.

in English The view of fashion as a system of signification, first introduced in the important work of Roland Barthes The Fashion System (1967), has been dominant since the development of Fashion Studies. But in the last two decades it has been increasingly criticized and confronted with the concepts of identity as flexible dimensions. From a semiotic perspective, the materiality of clothes almost "disappears" into representation. Emerging research on fashion, on the contrary, draws on Gilles Deleuze's notions, that ideas are inseparable from their material expression, and tries to follow attempts in fashion to break with representational mode. But, if Deleuze argues that the possibilities to escape the representation belongs to modern art, with its metamorphoses, what can we argue about fashion? The thesis underlines that above all, fashion is commerce, and each brand carefully constructs its system of values. The physical experience of wearing clothes is always influenced by the meanings circulating in the system of fashion. The limitations of applied semiotics of fashion are evident (clothing and its representations always exist in the context of further semiotic systems), but ultimately unlike the heterogeneity of everyday practice, the "methodological purity" of discursive practices permits...

The thesis deals with intertextuality in Karel Čapek's drama R.U.R. and Dan Wells' trilogy Partials Sequence. The aim of the thesis is the interpretation and subsequent comparison of the above-mentioned works and finding mutual resemblances mostly in the main motives, but also in genre characteristics, environment, story sequence and other topics reflected in both works. Since the topic of the thesis already assumes the existence of intertextual relationship between the two works, therefore the aim of the work is not proving its existence but we are trying to determine how far these similarities goes and whether they are just random intertextual similarities or whether Dan Wells, although he does not admit it publicly, necessarily had to be inspired directly by Čapek's drama. Keywords: intertextuality, Gerard Genette, Roland Barthes, Karel Čapek, R.U.R., Dan Wells, Partials Sequence, robot.