As técnicas de ensino devem ser dinâmicas e, de fato, têm apresentado evolução constante. Mais recentemente, e de maneira bastante agressiva, novos recursos que implementam tecnologia da informação têm sido utilizados no ensino médico. Todavia, a escassez desses recursos e aplicabilidade no ensino da ginecologia é notória. Os objetivos do trabalho ora exposto foram: a) a criação de um aplicativo didático para o ensino da semiologia mamária utilizando recursos computacionais; b) disponibilizá-lo na rede mundial de computadores (Internet); c) mensurar o aprendizado dos alunos os quais interagiram com o aplicativo. O aplicativo desenvolvido foi segmentado em: 1) Anatomia Mamária, 2) Anamnese, 3) Exame Físico e 4) Exames Complementares. Cada tópico foi desenvolvido e apresentado em frames eletrônicos utilizando-se vídeos, imagens (estáticas e dinâmicas), animações e texto baseado na Linguagem de Marcação de Hipertexto (HTML) e linguagem de programação Action Script 2.0, os quais relatam informações acerca dos temas selecionados. Para realizar o teste do aplicativo e avaliar sua potencialidade na educação médica, foram convidados alunos de diferentes instituições de ensino médico. Foram feitos 313 acessos sendo que apenas 95 responderam de forma completa todo o questionário. O tema escolhido foi a semiologia mamária, apresentada de duas formas distintas. Os alunos, de maneira aleatória, poderiam fazer uso da aula expositiva convencional disponibilizada através de vídeo, permitindo a interatividade linear do material, ou, interagir de forma não linear com o aplicativo multimídia. Havia também a possibilidade de acesso a ambas as formas de apresentação do tema, o que foi feito por 34 alunos/usuários. A avaliação foi composta por 20 (vinte) questões, e, paralelamente, foi constituída uma escala Likert cujo objetivo era avaliar a credibilidade do aplicativo. Os resultados mostraram que os alunos/usuários que utilizaram somente a aula expositiva convencional obtiveram desempenho pior quando comparados aos alunos/usuários que utilizaram o aplicativo multimídia, entretanto, de forma oportuna, os alunos/usuários que utilizaram ambos os recursos didáticos, ou seja, aula expositiva convencional e o aplicativo multimídia obtiveram notas superiores quando comparado ao grupo de alunos que utilizou somente o aplicativo multimídia respectivamente (E+M = 17,9; AM = 17,5; AE = 15,4; p < 0,0001). Diante das evidencias apresentadas conclui-se que o aplicativo multimídia desenvolvido favoreceu o aprendizado e a retenção do conhecimento para os alunos, e que, o uso de tecnologias computacionais pode trazer facilitar o aprendizado da semiologia mamária. / The teaching techniques must be dynamic and, in fact, have made constant progress. More recently, and quite aggressive new features that implement information technology have been used in medical education. However, the lack of this feature with respect to its applicability in the teaching of gynecology is significant. The objectives of the current study were: the creation of an application for the teaching of breast semiology using computational resources, make it available on the World Wide Web (Internet) and to measure student learning which interacted with the application. The application was segmented into: 1) Breast Anatomy, 2) Clinical history, 3) Physical Examination and 4) Additional Tests. Each topic was developed and presented in electronic frames using videos, images (static and dynamic), animations and textbased HyperText Markup Language (HTML) and programming language Action Script 2.0, which report information about selected topics. To perform the application and evaluate its potential, students from different institutions of medical education were invited. The program was accessed by 313 individuals and, of these, 95 completed fully the questionnaire and 77 evaluated the application through a Likert scale. The chosen theme was breast semiology , presented in two different manners. The students, at random, could make use of the conventional lecture available on video, or interact with the multimedia application. There was also the possibility of access to both forms of presentation of the theme, which was done by 34 students. The evaluation was composed of 20 (twenty) questions, and, in parallel, was set a Likert scale to evaluate the credibility of the application. The results showed that students who used only conventional lecture (AE) got lower grades than students who used the multimedia application (AM). However, students who used both teaching resources (E+M), ie conventional lecture and multimedia application, obtained higher grades compared to the group of students who used the multimedia application (E+M = 17,9; AM = 17,5; AE = 15,4; p < 0.0001). According to these evidences, it appears that the multimedia application significantly promoted knowledge for some students, and that the use of computer technologies can facilitated the learning of breast semiology.

Comment peut-on aborder la complexité narrative des romans de Nancy Huston, écrivaine se situant à cheval entre deux cultures, surtout si elle est doublée d’une hybridité symptomatique de notre époque marquée par les connexions entre différentes cultures? À travers une étude entrecroisant les théories structuralistes/sémiologiques, en particulier les écrits relativement récents de Jacques Fontanille qui remet l’énonciation au coeur du processus narratif, et la perspective transculturelle, ce mémoire s’intéresse à la spécificité de l’écriture de Huston, et plus largement celle des récits à caractère transculturel. Débutant avec la présentation des deux champs d’études choisis et l’identification des points de contact existant entre eux, le travail laisse ensuite place à l’analyse de deux romans de Huston, soit Dolce agonia (2001) et Lignes de faille (2006). Enfin, grâce au nouvel éclairage que les études transculturelles peuvent apporter aux théories structuralistes/sémiologiques, il est possible de reconsidérer le processus énonciatif dans les romans à caractère transculturel et d’ainsi confirmer leur statut de récits complexes et hybrides. / How is it possible to approach the narrative complexity in the novels of Nancy Huston, a writer positionning herself between two cultures, especially if that complexity is reinforced by hybridization, a phenomenon that represents our time marked by connections between different cultures? Through a study crossing structuralist/semiological theories, particularly the more recent writings of Jacques Fontanille who sets back the enonciation in the heart of the narrative process, and a transcultural perspective, this essay tries to understand the specificity of Nancy Huston’s writing, and in a larger perspective the specificity of transcultural narratives. The text begins with the presentation of the two chosen disciplines as well as the identification of some contact points between them, followed by the analysis of two of Nancy Huston’s novels, Dolce agonia (2001) and Lignes de faille (2006). Finally, with the new perspective brought by the transcultural studies on the structuralist/semiological theories, it is possible to reconsider the enonciative process in trancultural novels and to confirm in that way their status as complex and hybrid narratives.

Dès les débuts de l’archéologie préhispanique, au XIXe siècle, le temple maya sous sa forme commune de pyramide est devenu la figure de proue d’une discipline qui s’est construite dans un contexte intellectuel bien particulier. Entre la redécouverte du patrimoine archéologique italien et égyptien et l’esprit romantique des premiers explorateurs, les constructions mayas perdues dans la végétation du Yucatán et du Petén ont su enflammer l’imagination. L’étude du monde méso-américain a donc pris naissance dans le creuset de l’évolutionnisme européen et de la tradition chrétienne, dès la Conquête espagnole, au XVIe siècle. En réalité, la pensée cosmographique maya, née du fonds culturel méso-américain formé à l’époque olmèque, est beaucoup plus complexe, et l’on ne peut se contenter d’interprétations consensuelles. Le temple maya, réitération du macrocosme, est l’une des expressions spécifiques d’une conception de l’univers qui se manifeste au travers d’un véritable discours d’imbrication et de démultiplication interne de signes. Fondée sur l’examen précis et systématique d’un vaste corpus de sites des Basses Terres de la péninsule yucatèque et du Petén, datés du IIIe au Xe siècle (époque III ou Classique), cette étude use de la sémiologie comme outil d’analyse de l’organisation spatiale des centres urbains mayas. Elle se propose d’apporter une nouvelle lecture du processus intellectuel et matériel de construction, afin de révéler l’ensemble de la sémantique formulée par le temple et l’architecture rituelle et sacrificielle mayas. / From the beginning of pre-Hispanic archaeology, in the end of the 19th century, the Maya temple as a pyramid has become the figurehead of a discipline built in a very specific intellectual context. Between the rediscovery of the Italian and Egyptian archaeological heritage and the Romantic spirit of the early explorers, Maya buildings lost in the forest of Yucatán and Petén were able to fire the imagination. The study of the Mesoamerican world has thus been formed based on European evolutionism and Christian tradition, starting from the Spanish Conquest in the 16th century. Actually, the Mayas’ cosmographic thought, born of the Mesoamerican cultural unit – first formed by the Olmecs – is so much more complex that we can not just settle for consensual explanations. Not only is the Maya temple a reiteration of the macrocosm, but also a particuliar expression of their conception of the universe which is a true speech made of internal multiplication and interweaving signs. Built on a systematic and accurate observation of a huge site corpus of the Lowlands of the Yucatecan peninsula and Petén (3rd to 10th century, Classic period), this study uses semiology as a real tool for analysing the spatial organization of Maya cities. Its aim is to provide a new understanding of both the intellectual and material construction process, in order to reveal the whole semantics behind the temple and the Maya ritual and sacrificial architecture.

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. <p>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.<p>/<p>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. <p>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. <p> / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

La construction des personnages et de représentations du pouvoir, ainsi que la mise en place d’une écriture métafictionnelle dans sept romans mexicains publiés dans les années 90 sont les thèmes centraux de cette étude. Pour notre analyse de El disparo de argón, Huatulqueños, La lotería de San Jorge, Una de dos, Salón de belleza, Un asesino solitario et En busca de Klingsor, nous nous sommes inspiré des théories de Roland Barthes et de Philippe Hamon concernant l’étude sémiologique des personnages, ainsi que des modes de représentation narrative décrits par Gérard Genette. Nous sommes également parti des idées ce même auteur sur l’écriture métafictionnelle, ainsi que des travaux de Linda Hutcheon et de Patricia Waugh sur la question. Notre analyse montre que narrateurs, personnages et décors sont construits à l’aide de figures telles que l’hyperbole ou la comparaison. Le paysage peut agir comme un personnage de plus, et engendrer des espaces métaphysiques reflétant l’histoire. Pour ce qui est du rapport au pouvoir, l’on distinguera deux types de personnages : des êtres vulnérables, d’une part, possédant le pouvoir de manière éphémère ; et des puissances invisibles et inhumaines, de l’autre, surveillant et régissant les destinées des personnages. Tandis que les premiers partagent des caractéristiques physiques et des comportements plus ou moins similaires, les puissances invisibles correspondent à des figures telles que le Destin, le Hasard, Dieu ou encore le Diable. Les représentations du pouvoir remplissent toutes une même série de fonctions. Chacun des sept romans envisagés par cette étude déploie des moyens visant à souligner la nature réflexive de l’écriture chez le narrateur. L’analyse des mises en abyme, des métalepses et de la transtextualité au sein du récit permet de mettre au jour et d’évaluer de manière systématique la présence effective de la métafiction. / This essay presents an analysis of the construction of characters, the representations of power and the development of metafictional writing through a discussion of seven Mexican novels published in the nineties. The essay utilizes the theoretical advances of Roland Barthes and Philippe Hamon in regards to semiological analysis of characters and Gérard Genette’s modes of narrative representation to analyze El disparo de argón, Huatulqueños, La lotería de San Jorge, Una de dos, Salón de belleza, Un asesino solitario y En busca de Klingsor. Metafictional writing was looked at using the theoretical lens of not only Genette, but also Linda Hutcheon and Patricia Waugh. In conclusion, narrators, characters and setting are constructed by means of techniques like hyperbole or comparison. In addition, landscape comes to function as another character in the story, creating a metaphysical space that reflects history. When speaking of power, there are two identifiable types of characters: vulnerable creatures with an ephemeral authority and invisible, inhumane powers that patrol and decide characters’ destinies. The first group eventually acquires the same physical characteristics and attitudes, while the invisible powers correspond to figures like Fate, Chance, God or the Devil. The representations of power fulfill a series of similar roles. Each of the seven novels studied in this essay uses techniques which emphasize the narrator’s own awareness of the act of writing. The analysis of the mise en abyme, metalepsis and transtextuality in the narrative allows for a systematic determination and evaluation of the effectiveness of metafiction.

Video games have become the highest grossing entertainment industry in the world, earning more than double that of the music and film industry combined. Many of these games contain political messages, intentional or not. Some game developers explicitly claim that the games they make are apolitical, and this thesis examines whether Call of Duty: Modern Warfare is as apolitical as its developers claim. The research is conducted with the aid of Barthes’ work on mythologies and semiology to analyse the various signs present in the game in relation to construction of myths and ideological messaging. This is aided by Bogost’s procedural rhetoric to enable the analysis of gameplay choices as a semiological sign. The main theories are supported by Murray’s writing on immersion and the first-person perspective. The analysis shows that Modern Warfare consistently uses signs and myths that construct an ideological message that coalesce into a mythical image of the special forces soldier as a sort of human but superhuman character that must be given free rein to perform their mission, while also displaying western politicians as incompetent, the threat of terrorism as omnipresent, and Russia as a dangerous threat. Regardless of intent, such a message is undeniably political.

This thesis focus on semiological analysis of selected corporate logo. Logo is visual identity of brand. Visual identity is a part of corporate identity. Logo is a conjunction of graphic design and marketing strategies. This thesis is based on semiotics theories, although incorporating marketing basics and marketing semiotics take on this problem. Within the practical part the logo analyzed using denotation and connotation. Researched brand is US coffee chain Starbucks, which is one of the most successful coffee companies worldwide. Their corporate logo went through a long development and its strikingly successful.

This thesis focus on semiological analysis of selected corporate logo. Logos are part of the corporate identity and they are surrounding us all the time. Our society is overloaded with logos and that is main reason why logo has to be well remembered, easily recognized and connected with the brand. Logo is a conjunction of graphic design and marketing strategies. From the semiological point of view, this thesis is based on Roland Barthes's theories, although incorporating marketing basics and marketing semiotics take on this problem. Within the practical part the logo analyzed using denotation, connotation and myth. Researched brand is US coffee chain Starbucks, which is one of the most successful coffee companies worldwide. Their corporate logo went through a long development and its strikingly successful. Keywords logo, semiology, marketing semiotics, graphic design, corporate identity, myth, conotation, denotation

This thesis focus on semiological analysis of selected corporate logo. Logos are part of the corporate identity and they are surrounding us all the time. Logo is visual identity of brand. Our society is overloaded with logos and that is main reason why logo has to be well remembered, easily recognized and connected with the brand. Logo is a conjunction of graphic design and marketing strategies. This thesis is based on semiotics theories, although incorporating marketing basics and marketing semiotics take on this problem. Within the practical part the logo analyzed using denotation and connotation. Researched brand is US coffee chain Starbucks, which is one of the most successful coffee companies worldwide. Their corporate logo went through a long development and its strikingly successful.

The diploma thesis The Photo Album and Syntagm in the Web 2.0 Environment deals with problems of digital photographic collections shared in the web 2.0 environment. The thesis tries to express the basic principles of online photo albums referring to their characteristics, social function, method of arrangement and classification of individual photos. The aim is to verify the assumption that the photo album in the web 2.0 environment loses its narrative function and becomes a set of photos as modular fragments, whose sequence is made to be easily rearrangeable. The thesis is outlined in an interdisciplinary method, in examining of web photo albums it combines knowledge from studies of new media, sociology, philosophy and semiotics. The diploma thesis verifies validity of new medial theories of Lev Manovich in the environment of web digital photo albums and continues in his analyses of behaviour of users of the Instagram social network. As a part of the thesis there is also the own quantitative research, which with its form approximates to the sociological study of Pierre Bourdieu in 60s of the 20th century, devoted to social use of photography. On the basis of the above mentioned theoretical knowledge and his own research we determine what changes of organization and social function of photo albums...