1969年，Kotler & Levy首次提出將商業行銷的概念，應用於非營利組織，開啟了公共組織行銷的大門，它將公共組織的服務視為一種“產品”，並著重對於標的顧客團體的界定與顧客行為的分析﹔運用行銷的手法，將市場區隔、市場定位、產品定位等行銷技術引進政府部門中，使得政府所提供的公共服務更具廣泛性及系統性。 這股對於政府行銷概念的演進可以從公民參與的觀念開始探討，近來由於民主思潮的推動及公民自覺的意識提高，政府部門開始積極將民眾之參與和社會公益納入公共政策的規劃與評估中。再加上公民參與機制之建立、廣泛地運用新管理方式，使得政府必須像私人企業一般回應顧客的需求與偏好，將從前把民眾視為受影響的標的團體，改為擁有選擇權的顧客。而這也代表以往傳統理論權威行政下公共行政封閉式的意識型態已經被打破。 而公共組織在其特殊環境的系絡下，如環境與組織的差異、利潤與非利潤導向、貨品與服務的不同等方面由於其特殊性，所以多以宣導的方式作為對政策行銷的方法，來為民眾提供公共服務，並以各種管道實際依據顧客需要來設計產品（服務提供），藉以提供良好品質的服務。 在這行銷擴大化的潮流下，政策行銷概念開始被提出，本文將行銷學上的行銷工具引進在政策行銷要素之研究上，加入更多行銷工具及技術，如政策目標確立、政策市場區隔等概念，來補充、修正、及檢測公共組織的行銷實務。 加上「符號學」的運用，使得政策行銷的宣傳透過傳播管道，將意識型態加以建構，而形成在認同的過程中，不斷的將政策行銷目標所欲傳達的意識型態加以複製強化，透過意識型態的強化產生認同，形成認同的不同層次。 最後透過ELM理論將符號的特質跟傳播特性加以結合，更使得政策行銷效果更為顯著，可見符號是意識型態、認同、說服所生成的基本元素。在邁向後現代的社會當中，「符號的行銷」也漸漸的形成行銷的另一種方法，這股趨勢再再的印證本文所述：我們所處的世界是個「符號的世界」。

Dans un large corpus de spectacles, lorsque nous acceptons que le spectateur perçoive l’interculturalité en tant que composante scénique, même si l’interaction et le métissage ne sont pas effectivement présents, nous pouvons affirmer que la notion d’interculturalité mérite une mise au point. La variété de types de processus et de constructions scéniques développées dans les quarante dernières années appelle donc un concept capable d’héberger la notion de Diversité. Ainsi, nous proposons une lecture sémiotique de différents croisements et manifestations scéniques, en leur allouant la perception esthétique de la diversité, tel que l’a proposée Victor Segalen. Notre argument veut démontrer que la théorie de Segalen apporte à la scène contemporaine un nouveau regard en faisant confluer d’une façon plus adéquate les différents types de spectacle considérés comme « interculturels ». Cette théorie englobe des notions anthropologiques, ethnologiques, philosophiques et politiques, et qui circonscrivent l’être humain dans un contexte contemporain global, rendant possible une construction sémiotique particulière. Par là, notre thèse recherche les fondements d’une sémiotique de la diversité sur la scène contemporaine et ses différentes formes de manifestation. Elle aspire à comprendre les spécificités émergées avec elle lorsqu’un mécanisme de construction interculturelle est installé dans les processus de construction et de concrétisation. Dans le but d’identifier les bases et formes d’expression qui construisent l’interculturalité en tant que processus anthropologique, nous allons construire une critique sur leurs origines et formations, à partir de l’analyse de différents spectacles. Nous allons donc établir, au moyen de la sémiotique et de l’anthropologie, les différences entre « influence étrangère », dont de nombreux spectacles reçoivent, et « échange culturel » élaboré par un processus intentionnel d’interaction. Nous étudions les morphologies et les fonctions épistémologiques des contacts culturels présents dans la construction et l’énonciation du discours scénique, en réunissant des notions provenant de l’anthropologie, de l’ethnoscénologie et de la sociologie du spectacle, structurant ainsi le cadre sémiotique de la diversité. / Taking into consideration that in a large corpus of performances spectators perceive interculturality as a scenic component, although interaction and hybridisation are not actually present in the production of the play, we can assert that interculturality’s conception merits a review. The variety of scenic processes and constructions developed in the last forty years claim for a concept suitable to accommodate the notion of diversity. Thus, we propose a semiotic reading of different interweaves of cultures and artistic events, combining the aesthetic perception of diversity proposed by Victor Segalen. Our argument intends to show that Segalen’s theory brings to the contemporary scene a new perspective and converges in a manner more relevant, different kinds of performances usually acclaimed as “intercultural”. It provides anthropological, ethnological, philosophic and political notions that circumscribe human being into a contemporary global context, allowing us to set up a specific semiotics. Therefore, our thesis investigates the foundations of a semiotic of diversity in contemporary dramatic scene and its different kinds of manifestation. It seeks to understand the particularities that emerge out of the semiotic of diversity when, in its process of construction and concretization, it establishes an intercultural mechanism. Likewise, we’ll assemble a reflexive critic on its backgrounds and forms, consisting of the analysis of different performances which are the basis and the manners of an intercultural construction as an anthropological process. We want to establish through semiotics and anthropology the difference between "foreign influence", that many of the performances grasp, and "cultural exchange" built up all the way through a deliberate process of interaction. We’ll hunt for morphologies and epistemological functions of cultural contacts that are present in the construction and the enunciation of the performance discourse through the application of concepts drawn from anthropology, ethnoscenology and performance sociology, thus structuring the framework of semiotics diversity.

This essay studies how advertisements in various anti-smoking campaigns can influence and persuade by using anti-logos as counter-arguments to the tobacco industry's logos. In contrast to tobacco advertising arguments such as freedom (logos), pleasure (pathos) and trademark (ethos) the anti-smoking campaigns create anti-logos arguments with various connotations such as repulsive pictures and sexual implications to influence groups of people not to start smoking or to quit smoking. Advertisement of tobacco does not exist nowadays due to legal restrictions in the western world; however several decades of myths created in the consumer consciousness still exist. Thus one can speak of a tobacco advertising ideology that exists and the various anti-smoking campaigns trying to change that ideology. The purpose of anti-smoking campaigns is to conduct a kategoria of myth that tobacco advertisement has created over the years. Anti smoking organizations do this by creating a new ideology to affect consumer’s attitude toward smoking and the tobacco myth with an anti-myth. This becomes a counter-myth to the myth created by tobacco advertising and their logos and pathos arguments. The anti-smoke commercial logos become anti-logos and pathos to anti-pathos (antipathy) for the cigarette whose arguments are created from the viewer's connotations of anti-smoke commercials. The cigarette, as a product of connotations in commercials, shows how rhetorical persua-sion becomes public relations and vice versa.

Glamour is an ideal that permeates our highly visual culture, yet the concept still remains indefinite. Despite its highly ideological function, it has been included in the academic discourse only in the recent years. The aim of this study is to broaden the understanding of glamour as a modern phenomenon and elaborate it as an analytical concept. This is achieved by examining the advertising imagery of Chanel No. 5, the legendary French perfume from the influential haute-couturier and socialite Gabrielle "Coco" Chanel. The theoretical frame consists of the history of glamour as well as the semiology of advertising. Semiology is also used as a method for analysing the adverts. The journey with Chanel No. 5 starts from the year of its creation, 1921, and one advert from every decade is chosen to a closer interrogation. Based on eight semiological analyses of Chanel No. 5's adverts, I argue that glamour is a media myth that becomes activated through a system of signs. The glamour of Chanel No. 5 depends on the use of celebrity personas, on skillful and exclusive media treatment, and on the circulation of signs which connote luxury and feminine sexuality, yet always with a fresh, contemporary touch. In the end, glamour is a highly manufactured, unattainable ideal which entices and invites for consumption.

This thesis analyzes the role and power of symbols in the identity formation of community members. With regards to different sociological traditions it discusses the concepts of symbol, identity and community in three chapters and makes analyses via employing three specific samples i.e., of dressing, Cross and language mainly from the view point of semiology and symbolic interactionism in the following chapter by integrating the three concepts elaborated separately to indicate and emphasize the role and power of symbols in the identity formation of community members. In the conclusive chapter it presents an overall remark of the whole study by emphasizing the effect and influence of the concepts of symbol, identity and community on each other. The thesis argues that consciously or not everyone convey their messages through the use of symbols. Therefore, from dressing to managed speech and interaction everyone come on the stage fully equipped and loaded with these symbols, which would in the last analysis be definitive in determining the borderlines of this symbolic world within their specific community which is nothing but a pool of symbols.

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-24T14:52:16Z No. of bitstreams: 1 Dissert Nelson Pereira Jr..pdf: 1088575 bytes, checksum: f4578fc2abefa4941f62fccd3373f132 (MD5) / Made available in DSpace on 2013-05-24T14:52:17Z (GMT). No. of bitstreams: 1 Dissert Nelson Pereira Jr..pdf: 1088575 bytes, checksum: f4578fc2abefa4941f62fccd3373f132 (MD5) Previous issue date: 2004 / Dentro do panorama teórico da semiologia discursiva (Análise do Discurso), esta dissertação de mestrado busca compreender os mecanismos acionados na produção de sentido dos discursos não-verbais presentes na comunicação de massa. Para tanto, a análise concentra sua atenção no discurso fotojornalístico e em sua contribuição para o desenvolvimento de uma relação entre o veículo de imprensa e seu público leitor. Além disto, através de um estudo de caso baseado no jornal "A Tarde", a presente pesquisa propõe linhas gerais para o desenvolvimento de uma metodologia de análise das fotografias de imprensa e busca evidenciar os elementos enunciativos atuantes no fotojornalismo. Assim, no último capítulo da dissertação, a partir de um corpus composto por edições publicadas entre junho de 2002 e maio de 2003, o trabalho detalha alguns traços enunciativos recorrentes nas fotografias do jornal "A Tarde", delineando a participação destas imagens no posicionamento discursivo do periódico analisado. / Salvador

Este trabalho tem por objetivo defender a viabilidade de uma Semiologia da Tradução a partir dos princípios semiológicos reservados à língua pelo renomado linguista Émile Benveniste. Para tanto, o fenômeno tradutório não é considerado senão pela relação entre línguas que o tradutor estabelece no exercício de seu ofício, sobre a qual a Semiologia da Língua e, por conseguinte, a própria Enunciação, frutos da reflexão benvenistiana acerca da linguagem, dão testemunho. A primeira o faz através do princípio de unidades significantes atestado nos modos de significação da língua, a saber, o semiótico e o semântico, cuja significância cede à língua o status de interpretante da sociedade; a segunda, através das propriedades semânticas que fazem evidenciar as diferenças linguísticas na produção de discurso como manifestação da enunciação. Assim, a hipótese de uma Semiologia da Tradução é sustentada, no primeiro capítulo, pela comprovação de que o fenômeno tradutório é atravessado pela língua de maneira a tomar-lhe emprestado o funcionamento significante que rege suas leis e, no segundo capítulo, pela descrição dos domínios semiótico e semântico que possibilita pensar para a tradução um modo específico de significação, descrito, em pormenores, no terceiro e último capítulo. Com o intuito de produzir um discurso sobre a tese benvenistiana de que o semântico é a possibilidade da tradução, enquanto o semiótico é a impossibilidade, o original e a tradução são tomados como duas línguas-discurso que configuram um sistema cujo mecanismo de significância protagoniza uma relação de interpretância, onde a língua-discurso-alvo é o interpretante da língua-discurso-fonte, fazendo emergirem das diferenças que o tradutor estabelece entre uma e outra as unidades de tradução – uma noção teórica de unidade de significação muito particular pela qual se acredita poder descrever as leis que regem todo sistema tradutório. / This study aims to prove the viability of a Semiology of Translation regarding the semiotic principles reserved to the Language by the well-known linguist Émile Benveniste. The phenomenon of translation is considered as the relationship between languages established by the translator during the translation process, which is attested by the Semiology of Language and, therefore, the Enunciation itself – both as a result of Benveniste’s reflection on language. The first one attests it through the unit of signification principle verified in the two modes of meaning combined in language – the semiotic and semantic modes – whose significance makes the language the interpreting system of society. The second one attests it through the semantic properties that clarify the linguistic differences in the production of speech as a manifestation of the enunciation. Thus, the hypothesis of a Semiology of Translation is sustained in the first chapter by proving that the phenomenon of translation is crossed by the Language so as to copy both its significant mechanism and laws; and in the second chapter by describing both semiotic and semantic modes in order to enable the development of a specific mode of meaning for the phenomenon of translation, which is finally portrayed in detail in the third and final chapter. In order to draw a conclusion about Benveniste’s idea of the semantic mode as the possibility of translation and the semiotic mode as its impossibility, the original and the translation are both taken by the concept of language-speech that sets a translation system whose significant mechanism portrays a interpreting relationship where the target language-speech is the interpreter of the source language-speech, making emerge from the differences that the translator establishes between one and another a theoretical notion of the translation unit which it is believed to describe the laws governing all translation systems.

A partir da difusão e fragmentação das escritas de vida pela Comunicação no contemporâneo, esta dissertação busca discutir tal fenômeno à luz do conceito de biografema, conforme elaborado por Roland Barthes. Propomos que as narrativas midiáticas vêm praticando um resgate e um desgaste de tal forma semiótica, calcada na descrição de detalhes e pequenas idiossincrasias de suas personagens – jogo de enunciação biográfica visível desde sua formalização com Plutarco, no Século X, até a corrente definição de espaço biográfico, fendido pelo crescente interesse em detalhamentos e escritas menores. Identificado tal cenário em dispersão, a pesquisa tomou como seu objetivo geral distinguir os usos do biografema pelos discursos comunicacionais contemporâneos por meio do mapeamento de suas diversas funções semióticas, observáveis na análise de fragmentos narrativos. Tal distinção é organizada aqui, metodologicamente, a partir da arqueologia de Michel Foucault, na tentativa de localizar os regimes de dizibilidade que instauram e modelam as formas semióticas de enunciação da vida e o modo como se alteram em seu trânsito. Desse painel, partimos para uma observação de certas escrituras concretas capazes de encarnar as forças formativas, levando a uma investigação sobre discursos midiáticos como Caetano estaciona carro no Leblon nesta quinta-feira e Bela, recatada e ‘do lar’, contrapostos ao dispositivo crítico dos livros Anjo noturno, Inverdades, La literatura nazi en America, O concerto de João Gilberto no Rio de Janeiro, Um homem burro morreu, Vida e Vésperas. Desmontados a partir da sua enunciação de traços biografemáticos, tais textos são remontados em nossa análise a partir da identificação de três estratégias semióticas que animam a circulação do biográfico pelos meios de comunicação. Foi possível ler aí três principais usos estratégicos a modelizar a palavra biografemática: a palavra de ordem, voltada a tomar a descrição do biografado como realização de injunções de poder; a palavra mítica, forma de organização sígnica específica desse uso, dedicada a naturalizar os intuitos estratégicos a que serve; e a palavra fágica, que apropria para a mídia a forma crítica do biografema, mas também opera o movimento inverso, reiniciando essa semiose. Na disposição dessas formas de lidar com os traços biografemáticos, podemos inferir o caráter volátil da linguagem envolvida na constituição do biografema e das biografias; linguagem cujo uso desvela uma condição parasita da Comunicação, estruturada pela produção de signos e de regimes poéticos e políticos. / Based on the diffusion and fragmentation of the life’s writings by Communication in the contemporany, this dissertation seeks to discuss such phenomenon in light of the concept of biographeme, as elaborated by Barthes. We propose that the media’s narratives have been practicing a rescue and a detrition of this semiotic form, based on the description of details and little idiosyncrasies of his characters – a game of biographical writing visible since its formalization with Plutarch, in the Xth century, to the current definition of biographical space, cracked by the growing interest in smaller writings and details. Identified the dispersion of such scenario, the research took as its general objective to distinguish the uses of the biographeme by the contemporary communicational discourses, mapping its diverse semiotic functions, observable in the analysis of narrative fragments. Such distinction is methodologically organized with the arche-genealogy of Michel Foucault, in an attempt to locate the regimes of readability that establish and model the semiotic forms of enunciation of life and how they change in their transit. From this panel, we set out for an observation of certain concrete writings capable of embodying this formative forces, leading to an investigation into media discourses such as Caetano estaciona carro no Leblon nesta quinta-feira and Bela, recatada e ‘do lar’ opposed to the critical apparatus of the books Anjo noturno, Inverdades, La literatura nazi en America, O concerto de João Gilberto no Rio de Janeiro, Um homem burro morreu, Vida e Vésperas. Disassembled in their enunciation of biographematical traces, in our analysis these texts are traced back to the identification of three semiotic strategies that animated the circulation of the biographical in the media. It was possible to read in these three main strategic uses modeling the biographematical word: the word of order, aimed at taking the description of the biography as concretion of injunctions of power; the mythical word, an specific form of symbolic organization, dedicated to naturalize the strategic purposes that it serves; and the phagic word, which appropriates to the media the critical form of biographeme, but also operates the reverse movement, restarting this semiosis. Laying out these ways of dealing with the biographematical traces, we can infer the volatile character of the language involved in the constitution of the biographeme and the biographies; the language whose use unveils a parasitic condition of Communication, structured by the production of signs and poetic and political regimes.

In the spirit of interdisciplinary critical accounting studies and in light of the IASB’s on-going Conceptual Framework project, this thesis problematises and proposes a re-conceptualisation of two fundamental financial accounting practices: recognition and measurement of assets. In order to do so, the thesis steps outside financial accounting’s conventional disciplinary resources of economics and finance. It proposes to mobilise Ferdinand de Saussure’s semiology, which, defined as a theory of social sign systems, provides a meaningful delineation of financial accounting as a purposeful sign technology. With such a lens and with a research approach of going beyond IASB’s proclaimed concepts and narrative to its nuanced prescriptions, the thesis challenges taken-for-granted assumptions with regard to the market-based nature of Fair Value measurement and the characterisation of judgement involved in recognition. With respect to value measurement, the thesis harness semiology to fracture the dichotomy between the market and the entity perspectives, which is generally assumed in extant accounting research and policy-making. It is shown how the IASB’s Fair Value measurement prescriptions demonstrate semiology's two-dimensional 'value constellation', where the asset’s value is not merely relational (and not intrinsic) but, importantly, relational in two distinct dimensions. It is a product, first, of differentiation from other values in the market and, second, of interrelation with other values in the specific entity. With a semiological theorisation of the financial statement, market-based and entity-specific perspectives serve as complementary inputs rather than contradictory outputs. With respect to recognition, the thesis proposes to shift the locus of judgment from questions of recognition thresholds (probability and reliability) to the under-investigated issue of the asset’s separability from the firm’s general cash flow. It is shown how the IASB’s procedures manifest the semiological principle of ‘reciprocal articulation’: accounting entities (e.g., ‘assets’) are not passive representations of pre-existing economic resources, but rather a product of delimiting – carving out – the asset/resource from the broader category (or the entire firm). With such theorisation, the crux of recognition is separability, which is never natural or technical, but rather anchorless and reciprocal. The thesis thereby sheds light on the plasticity of recognition for both tangible and intangible assets. With its theory-informed analysis the thesis offers a set of conceptual instruments – value constellation and reciprocal articulation – as the logic of the balance sheet as a sign technology: its semio-logic. With Saussure’s ground-breaking linguistic semiology, it offers a parallel financial-numeric semiology: an Accounting Semiology.

A partir da difusão e fragmentação das escritas de vida pela Comunicação no contemporâneo, esta dissertação busca discutir tal fenômeno à luz do conceito de biografema, conforme elaborado por Roland Barthes. Propomos que as narrativas midiáticas vêm praticando um resgate e um desgaste de tal forma semiótica, calcada na descrição de detalhes e pequenas idiossincrasias de suas personagens – jogo de enunciação biográfica visível desde sua formalização com Plutarco, no Século X, até a corrente definição de espaço biográfico, fendido pelo crescente interesse em detalhamentos e escritas menores. Identificado tal cenário em dispersão, a pesquisa tomou como seu objetivo geral distinguir os usos do biografema pelos discursos comunicacionais contemporâneos por meio do mapeamento de suas diversas funções semióticas, observáveis na análise de fragmentos narrativos. Tal distinção é organizada aqui, metodologicamente, a partir da arqueologia de Michel Foucault, na tentativa de localizar os regimes de dizibilidade que instauram e modelam as formas semióticas de enunciação da vida e o modo como se alteram em seu trânsito. Desse painel, partimos para uma observação de certas escrituras concretas capazes de encarnar as forças formativas, levando a uma investigação sobre discursos midiáticos como Caetano estaciona carro no Leblon nesta quinta-feira e Bela, recatada e ‘do lar’, contrapostos ao dispositivo crítico dos livros Anjo noturno, Inverdades, La literatura nazi en America, O concerto de João Gilberto no Rio de Janeiro, Um homem burro morreu, Vida e Vésperas. Desmontados a partir da sua enunciação de traços biografemáticos, tais textos são remontados em nossa análise a partir da identificação de três estratégias semióticas que animam a circulação do biográfico pelos meios de comunicação. Foi possível ler aí três principais usos estratégicos a modelizar a palavra biografemática: a palavra de ordem, voltada a tomar a descrição do biografado como realização de injunções de poder; a palavra mítica, forma de organização sígnica específica desse uso, dedicada a naturalizar os intuitos estratégicos a que serve; e a palavra fágica, que apropria para a mídia a forma crítica do biografema, mas também opera o movimento inverso, reiniciando essa semiose. Na disposição dessas formas de lidar com os traços biografemáticos, podemos inferir o caráter volátil da linguagem envolvida na constituição do biografema e das biografias; linguagem cujo uso desvela uma condição parasita da Comunicação, estruturada pela produção de signos e de regimes poéticos e políticos. / Based on the diffusion and fragmentation of the life’s writings by Communication in the contemporany, this dissertation seeks to discuss such phenomenon in light of the concept of biographeme, as elaborated by Barthes. We propose that the media’s narratives have been practicing a rescue and a detrition of this semiotic form, based on the description of details and little idiosyncrasies of his characters – a game of biographical writing visible since its formalization with Plutarch, in the Xth century, to the current definition of biographical space, cracked by the growing interest in smaller writings and details. Identified the dispersion of such scenario, the research took as its general objective to distinguish the uses of the biographeme by the contemporary communicational discourses, mapping its diverse semiotic functions, observable in the analysis of narrative fragments. Such distinction is methodologically organized with the arche-genealogy of Michel Foucault, in an attempt to locate the regimes of readability that establish and model the semiotic forms of enunciation of life and how they change in their transit. From this panel, we set out for an observation of certain concrete writings capable of embodying this formative forces, leading to an investigation into media discourses such as Caetano estaciona carro no Leblon nesta quinta-feira and Bela, recatada e ‘do lar’ opposed to the critical apparatus of the books Anjo noturno, Inverdades, La literatura nazi en America, O concerto de João Gilberto no Rio de Janeiro, Um homem burro morreu, Vida e Vésperas. Disassembled in their enunciation of biographematical traces, in our analysis these texts are traced back to the identification of three semiotic strategies that animated the circulation of the biographical in the media. It was possible to read in these three main strategic uses modeling the biographematical word: the word of order, aimed at taking the description of the biography as concretion of injunctions of power; the mythical word, an specific form of symbolic organization, dedicated to naturalize the strategic purposes that it serves; and the phagic word, which appropriates to the media the critical form of biographeme, but also operates the reverse movement, restarting this semiosis. Laying out these ways of dealing with the biographematical traces, we can infer the volatile character of the language involved in the constitution of the biographeme and the biographies; the language whose use unveils a parasitic condition of Communication, structured by the production of signs and poetic and political regimes.