Thesis (PhD)--University of South Australia, 1997

Bibliography: pages 202-211. / This study is an investigation into the relationship between word and image, with specific interest into the work of Edgar Allan Poe and Gustave Doré. The twenty six illustrations that Doré executed for Poe's The Raven form the basis of the study. The intention is, through analysis of the illustration, to identify the interplay between word and image and also investigate the influence of late Romantic Gothicism. Part One examines the position and roles of verbal/visual enquiry through illustration and text. A survey of theoretical concepts defining illustration is made. A brief examination of nineteenth century perspectives of illustration, including a survey of technical theories follows. The modern theory of semiotics and its bearing on visual investigation is examined. A model for applying these theories is detailed. Part Two is an in-depth examination of all twenty six of Doré's illustrations of The Raven. An introduction to the illustrations precedes the analysis. Each illustration is detailed individually, with information on the engraver, content and poetical position being given at the start. Numbered inserts are employed to relay detailed information on more general topics relates to the poem and illustrations. Part Three is the conclusion to the work. A brief examination of Doré's involvement with the Gothic is made. Notes on Doré's illustrations for The Raven and their reception and a survey of other illustrators of The Raven, particularly Eduard Manet follows. The comparison between Manet's and Doré's illustrations is investigated. The concluding remarks note how the relationship of word and image between Doré and Poe uncovers new information about both the poem and the illustrations. The importance of Romanticism and the Gothic is also noted. The conclusion states how new light on Doré's work makes these twenty six rarely considered illustrations more noteworthy. The study ends with a series of appendices, the text of The Raven by Poe, the twenty six illustrations by Doré and a bibliography.

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Thesis--University of Florida. / Description based on print version record. Typescript. Vita. Includes bibliographical references (leaves 231-232).

My critical essay maps out the relationship between verbal and non-verbal information in contemporary theatrical writing. It uses Lehmann's theory of a post-dramatic theatre and Pfister's analytical input to investigate different configurations of the information given by the characters' speech and the information given by their physical actions. The ways in which these variables interrelate define the type of affiliation between theatre and drama in any given text. My essay contends that the verbal and the non-verbal represent the two ends of the spectrum of possibilities of any written theatre text. The predominance of one over the other will determine the extent to which the 'presence' of the dramatist intervenes in the staging of the work. Using Old Times as a case study, I examine the way in which Pinter stretches the gap between the verbal and the non-verbal; by using his knowledge of the stage, he confronts the remoteness of the literary in theatrical writing. My play Southern Quest recognizes the minds of the readers and of the spectators as the place where the closure of the gap occurs. Its stage directions make of the stage, the properties and actions a creation that is parallel to the fictional one (only present in the dialogue of the characters). There is a permanent discrepancy, not a contradiction, between what is said and what and where it is done that demands that the actual assembly of the possible fiction takes place in the receiver's mind. The creative component draws on numerous elements analysed in the critical work, such as the discordance between the verbal and the non-verbal and the use of narrative monologues in theatrical writing. The lack of agreement between the verbal and the non-verbal-a heightened discordance at the beginning and the end of the play, with a minimal discrepancy towards the centre-mirrors the characters' journey throughout the play: from existential doubt to physical agony and back. The theoretical concerns addressed in the essay are explored in the writing of the play and my main formal drive in the creative piece is to explore the division between theatre and drama from within the text.

My critical essay maps out the relationship between verbal and non-verbal information in contemporary theatrical writing. It uses Lehmann's theory of a post-dramatic theatre and Pfister's analytical input to investigate different configurations of the information given by the characters' speech and the information given by their physical actions. The ways in which these variables interrelate define the type of affiliation between theatre and drama in any given text. My essay contends that the verbal and the non-verbal represent the two ends of the spectrum of possibilities of any written theatre text. The predominance of one over the other will determine the extent to which the 'presence' of the dramatist intervenes in the staging of the work. Using Old Times as a case study, I examine the way in which Pinter stretches the gap between the verbal and the non-verbal; by using his knowledge of the stage, he confronts the remoteness of the literary in theatrical writing. My play Southern Quest recognizes the minds of the readers and of the spectators as the place where the closure of the gap occurs. Its stage directions make of the stage, the properties and actions a creation that is parallel to the fictional one (only present in the dialogue of the characters). There is a permanent discrepancy, not a contradiction, between what is said and what and where it is done that demands that the actual assembly of the possible fiction takes place in the receiver's mind. The creative component draws on numerous elements analysed in the critical work, such as the discordance between the verbal and the non-verbal and the use of narrative monologues in theatrical writing. The lack of agreement between the verbal and the non-verbal-a heightened discordance at the beginning and the end of the play, with a minimal discrepancy towards the centre-mirrors the characters' journey throughout the play: from existential doubt to physical agony and back. The theoretical concerns addressed in the essay are explored in the writing of the play and my main formal drive in the creative piece is to explore the division between theatre and drama from within the text.

Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references.

It is the purpose of this work to evaluate the possible contribution that a semiotic perspective could make to mathematics education and mathematics. This emphasis of this work is on the development of a semiotic perspective, emerging from the work of C. S Peirce and L. Vygotsky, that embodies both the philosophical and psychological notions of the role of the sign. This perspective, termed Developmental Semiotics, evolves through the interplay of the theoretical and empirical aspects of this work. Developmental semiotics is applied in the form of a prototype as an empirical tool to two case studies, one concerning algebra and one concerning co-ordinate representations. The results of these studies serve to inform the evolution of the perspective and provide some conclusions specific to the case studies arising from this way of viewing learning in these contexts. The perspective is refined in the light of the studies and a further case study is carried out, this time in the area of the history of mathematics (the development of Boolean algebra), with the purpose of evaluating the final form of the framework and informing on mathematical development, creativity and motivation. Developmental semiotics has implications at two levels, on the macro semiotic level it brings forward the emphasis on the role of the sign in mathematical meaning-making, it rejects the traditional subject-object dichotomy and through semiotic action accounts for the relativity in mathematical meanings. At the micro semiotic level it describes mathematical development in terms of progressive meaning making instances for increasingly opaque signs and gives specific information about the meanings made by mathematics learners in specific contexts. In some instances it has enabled the identification of meanings that may be useful for mathematical progression. This work hopes to contribute to mathematics education by bringing to the fore the discipline of semiotics through emphasis on the role of the sign as a meaning giving entity, and through provision of a framework and empirical toolkit for the semiotic analysis of specific learning contexts. Furthermore it may also contribute to both mathematics, by exposing the history of mathematics to a semiotic analysis, and to semiotics itself by providing a further context for the application of this cross disciplinary point of view.

Esse trabalho visa propor uma leitura semiótica, que busque auxiliar a compreensão acerca do conceito de sublimação na obra freudiana. Dentre os destinos pulsionais, a sublimação é um processo cercado por muitas apreensões, pois foi amplamente citado pelo pai da psicanálise, mas não sistematizado em cada um de seus movimentos. Para tal empreitada, pretende utilizarse, como metodologia teórica de leitura, das mais recentes pesquisas da Semiótica Tensiva, que trazem para o palco de discussões a presença da afetividade no processo de significação. Desta forma, este trabalho busca colaborar no entendimento da composição do sujeito, visto como resultado de um processo discursivo, ao mesmo tempo em que procura comprovar a validade da visada semiótica para com os textos provindos dos mais diferentes campos de estudo. Além disto, utilizouse também da análise do conceito de sublimação na obra fílmica Cisne Negro (Black Swan, EUA, 2010), dirigido por Darren Aronofsky, e da comparação entre o processo sublimatório e o recalcamento, destino pulsional estudado por Freud em cada um de seus pormenores. / This work aims to propose a semiotic reading that seeks to increase an understanding about the concept of sublimation, in Freud\'s whole work. Among the instinctual destinations, sublimation is a process surrounded by many apprehensions because it was widely quoted by the father of psychoanalysis, but not systematized in each of his movements. For this venture, it intends to be used as a theoretical methodology for reading the latest research Tensive Semiotics, they bring to the stage of discussions the presence of affectivity in the signification process. This way, the present work seeks to deepening our understanding of the of the subject composition, seen as a result of a discursive process , while seeking to prove the validity of the already viewed semiotic texts stemmed from different fields of study . In addition, we also used analysis of the concept of sublimation work in the movie Black Swan (2010) , directed by Darren Aronofsky, and the comparison between the sublimating process and repression, instinctual destination studied by Freud in each of its details.