Made available in DSpace on 2014-07-29T16:27:55Z (GMT). No. of bitstreams: 1 Dissertacao Najla pre-textuais.pdf: 183766 bytes, checksum: dc2b081f1849365bfe897b2ec732e841 (MD5) Previous issue date: 2008-04-07 / This work focuses on discussing a methodological approach application of teaching based on reading and interpretation of the electronic and printed media image, intending to recognize linguistic elements (foreign words) linked to the subtitles from the ads. In the educational framework, suggesting an English Language teaching integrated to the Visual Culture and Art, contemplating the imagistic culture. This work, we also research the mediator process, that is, the teacher interference as a guide in the involvement between images, students and their representations. This dissertation is a result from a camp research, which on we applied an interpretative and prescriptive study about images from publicity done to twelfth-grade students (two groups formed by fifteen of teenagers) from a private school in Goiânia-GO. Reflecting about verbal language (written in English) and nonverbal (practices of looking images), in order to contribute to the educational context, that means, in the English Language teaching / learning process. This research was supported by theories of Visual Culture, Education, Discourse Analysis and Transdisciplinarity, argued for several theoreticians: Maingueneau (2004), Duncun (2003), Barbosa (2002) among others authors who had contributed, significantly, in order to a comprehension and analysis about this work. This way, we look forward to this investigation could, in some way, provide to go deeper into an interdisciplinary teaching with Visual Culture and the critical reading about the visual manifestations. / Este trabalho tem por objetivo discutir uma proposta de abordagem metodológica de ensino com base na leitura e interpretação imagética da mídia eletrônica e impressa, com o intuito de compreender os elementos lingüísticos: estrangeirismos vinculados à legenda da propaganda, em um contexto educacional, sugerindo o ensino de Língua Inglesa integrada à Cultura Visual e Arte, e contemplando a cultura imagética. Neste trabalho, pesquisei, também, os processos de mediação, ou seja, a interferência do professor como orientador do envolvimento entre imagens e alunos, e suas representações. Esse trabalho é resultado de uma pesquisa de campo, no qual apliquei um estudo interpretativo e prescritivo das imagens publicitárias, para alunos de sétimo ano do Ensino Fundamental (dois grupos de quinze alunos), de uma escola particular de Goiânia-Go, como forma de reflexão sobre as linguagens verbal (texto escrito em inglês) e não verbal (práticas do ver - imagens), no sentido de contribuir com o contexto educacional, ou melhor, com o processo ensino/aprendizagem da Língua Inglesa. Essa pesquisa foi apoiada pelas teorias da Cultura Visual, Educação, Análise do Discurso e Transdisciplinaridade, pontuadas por vários teóricos: Maingueneau (2004), Duncun (2003), Barbosa (2002) entre outros autores que contribuíram, significativamente, para a compreensão e análise deste trabalho. Desse modo, espero que esta pesquisa possa, de alguma forma, colaborar para o aprofundamento do ensino interdisciplinar com a Cultura Visual, e da leitura crítica das visualidades.

Made available in DSpace on 2014-07-29T16:27:57Z (GMT). No. of bitstreams: 1 Dissertacao Rogeria Eler.pdf: 7748543 bytes, checksum: 2289e8293f98e9ed0e856241b661c297 (MD5) Previous issue date: 2009-04-27 / The focus of this research are the technical images, analog and digital, generated, manipulated and dislocated by juvenile on the environment of the global network of computers, the Internet, where they establish new joints in what we know as subjective constructions, on the context of contemporary culture. The familiar references for socialization and identity formation get one more element, namely cyberspace, where actions and positions are gradually seized by interactors. The immersion in environments online and offline, internet pages organized and powered by four young people, contributors, in a methodological perspective of the case study, enable the perception of which images are articulated and deposited in electronic albums of sites of relationships, more specifically the orkut, what, perhaps, they wish to say or show through them, under an epistemological visual culture look. In this research, the visual culture studies, provided the basis for seeking to realize the extent, effectively, the young person, on the cyberculture context, formed from the Network, articulate their visions of the world, and how they react at the consumer market pressures. In this perspective, i highlight that interactors have relative autonomy in their actions in these environments, being formed, also, by pre-established models and under a complex system of monitoring and control even when talking with the entertainment dynamics proposed by the Network in which the photographic records and self-portraits are multiplied in line, under this approach, with the narcissistic contemporary representation. / O foco desta pesquisa são as imagens técnicas, analógicas e digitais, geradas, manipuladas e deslocadas por jovens inseridos no ambiente da Rede Mundial de Computadores, a internet, onde estabelecem novas articulações no que conhecemos como construções subjetivas, no contexto da cultura contemporânea. As referências de socialização e formação de identidade que conhecemos ganham mais um elemento, a saber, o ciberespaço, onde ações e posicionamentos são apreendidos paulatinamente pelos interatores. A imersão em ambientes on-line e off-line, páginas de internet organizadas e alimentadas por quatro jovens, colaboradores, sob uma perspectiva metodológica do estudo de caso, possibilitou perceber quais imagens são articuladas e depositadas em álbuns eletrônicos de sites de relacionamentos, mas especificamente o orkut, o que, porventura eles pretendam dizer ou mostrar através delas, sob um olhar epistemológico da cultura visual. Nesta pesquisa, os estudos da cultura visual forneceram as bases para busca por perceber até que ponto efetivamente o jovem, no contexto da cibercultura constituída a partir da Rede Mundial de Computadores, articulam suas visões de mundo, subjetividades e idiossincrasias, ou apenas respondem a pressões do mercado de consumo. Nesta perspectiva destaco que os interatores detêm autonomia relativa em suas ações nesses ambientes, sendo formados, também, por modelos pré-estabelecidos e sob um complexo regime de vigilância e controle ainda que dialogando com as dinâmicas de entretenimento propostas pela Rede em que se multiplicam os registros fotográficos e auto-retratos em consonância, nesta abordagem, com a representação narcísica contemporânea.

Denna uppsats undersöker ett typsnitt för romerska bokstäver avsett att associeras till ”Kina” som en exotisk och lockande miljö, utifrån svensk visuell kulturhistoria. Typsnittet undersöks genom analyser av svenska filmaffischer av Eric Rohman (1891-1949) ur Charlie Chan-serien mellan 1934-1940, med fokus på filmaffischen Charlie Chan i Kina (1935). Genom bildanalyser och diskussioner utifrån de teoretiska ingångarna postkoloniala studier, kritiska vithetsstudier och visuella kulturstudier kommer undersökningen fram till att typsnittet, genom att efterhärma kinesisk kalligrafi, associerar filmaffischens text och då affischen i sin helhet till ”Kina” som en exotisk, traditionell och främmande miljö. Jag har även undersökt hur ”Kina” och ”kinesen” har konstruerats i svensk visuell kulturhistoria, och hur typsnitt som det i filmaffischen Charlie Chan i Kina kan förstås utifrån den. En slutsats är att typsnittet agerar ut en lagom ”kinesiskhet”, på så sätt att det är ”kinesiskt” och associerar till ett föreställt ”Kina”, samtidigt som det fortfarande är tillgängligt och läsbart för en vit svensk publik. / This essay examines a typeface used for Roman letters meant to connote ”China” as an exotic and foreign place, within Swedish visual culture history. I examine this typeface using Swedish film posters by Eric Rohman (1891-1949) from the Charlie Chan-series from the years 1934-1940, focusing on the poster Charlie Chan i Kina (1935). The purpose is to examine constructions of ”the Chinese” and ”China” in these posters, and how this specific typeface has been used in these depictions as well as been constructed in relation to these ideas. Through a semiotic model for image analysis and the appliance of postcolonial studies, critical race theory and visual culture studies, I arrive at several conclusions. By imitating Chinese calligraphic visual elements, the typeface in Charlie Chan i Kina has the ability to connote ”China” as an exotic, traditional and foreign place, for a white Swedish audience. The analysis discusses the semiotic functions of the typeface in relation to contexts of the film poster, Swedish visual culture history and discourses concerning race in Sweden.

Aujourd’hui, le nom de Béla Balázs (1884-1949) est avant tout associé aux débuts de la théorisation du cinéma. Le présent travail résulte d’une volonté de lire ses écrits dans une perspective plus large que celle du champ cinématographique. L’analyse des réflexions de Balázs sur le cinéma dans un certain contexte d’histoire des idées permet de montrer par quel prisme il aborde cet art dans son ensemble. Dans un besoin de renouveau culturel qui l’a mené au communisme, il pense toujours le cinéma en fonction de ce qu’il signifie pour l’homme. Forgé par le constat de la crise de la culture de Georg Simmel et les réflexions bergsoniennes au sujet de la perception, Balázs défend l’idée que le cinéma surmonte les conséquences négatives de la modernité sur l’épanouissement des individus. Face à un monde de plus en plus mécanisé et vide de sens, le film représente une chance de se réapproprier la technique afin de mettre une nouvelle culture en mouvement. L’homme se détache de la sphère du lisible pour devenir visible à nouveau. Le cinéma présente un monde anthropomorphe et trois techniques principales lui confèrent son potentiel artistique et culturel : le gros plan, le cadrage et le montage. L’effet de celles-ci ne se limite pas à la salle de projection, puisqu’elles amorcent un changement de perception et réapprennent à l’homme à voir. Si nous nous basons dans cette étude sur les ouvrages de Balázs sur le cinéma L’Homme visible (1924), L’esprit du cinéma (1930) et Le cinéma. Nature et évolution d’un art nouveau (1948), nous tenons également compte de ses écrits littéraires, dans lesquels les problématiques liées à la culture et la perception sont centrales. / Nowadays, the name of Béla Balázs is above all else associated with the onsets of the theorization of the Cinema. The present work is the fruit of a will to translate his writings in a perspective that is wider than the one of Cinema. The analysis of Balázs's thoughts on movie-making in a particular context, in terms of history of ideas, enables one to identify the prism through which he tackled this art altogether. In a search for a cultural renewal that lead him to Communism, he always thought out of Cinema as of what it meant for mankind. Shaped by Georg Simmel's observation of a cultural crisis, and Henri Bergson's thoughts about perception, Balázs supported the idea that cinema set the individuals free from the negative consequences of modernization which could hinder their personal fulfillment. In a world that is more and more mechanic and meaningless, films stand as a chance to reclaim a technique and set a new culture in motion. The Man detaches himself from telling and resumes through showing. Cinema displays a world that is anthropomorphic and three major techniques help it achieve its cultural and artistic potential: the close-up, framing, and editing. And their effect is not limited to the projection room, since they mark the debut of a change in perception, and make the Man learn to see again. This study is primarily based on Balázs's works on cinema such as The Visible Man (1924), The Spirit of Film (1930) and Theory of Art (1948), but also takes into account his literary works, in which issues tied to culture and perception are central.

Modernitet och intermedialitet is the first major study of the Swedish modernist writer Erik Asklund (1908-1980) and his works. The thesis consists of an introductory chapter and three close readings of Asklund’s early novels Kvinnan är stor (The Woman is Great, 1931), Lilla land (A Small Country, 1933), and Fanfar med fem trumpeter (A Fanfare with Five Trumpets, 1934). In these novels, Asklund depicts modernity in Sweden in the 1930’s. Exploring the modernity of the 1930’s in Asklund’s novels, especially the contemporary media situation turns out to be one of the most important aspects. Asklund wrote stories about film, music and various forms of visual culture, (photography, for instance). These different forms of art and media play an important role for Asklund’s writings, not only thematically, but also narationally. In my analyses, I put forward different theoretical aspects of intermediality. In this context, the ideas of Werner Wolf have been especially useful to my examinations of the intermedial aspects in Asklund’s works. In the novel Kvinnan är stor, Asklund tells the story about the young woman Lydia, who moves from the countryside to the big city of Stockholm. She then learns to decode the modern urban society, and becomes a modern woman. In Kvinnan är stor, intermediality is expressed mainly through various connections to film and photography. The modernization of Sweden in the early 20th century was much a question of the countryside becoming modern. In Lilla land, Asklund depicts this process. The novel is one of the first works ever focusing the forming of the Swedish welfare state project. The story is told in a cinematic or filmical way. The third novel to be analysed in the thesis is Fanfar med fem trumpeter. This is one of the first Swedish jazz novels. Asklund tells the story about five young unemployed men in Stockholm who form a jazz orchestra, and make a career. The novels characters experience everyday life as “medialized”; they compare reality with music, film, and photography. These novels, as well as all Asklund’s writings from the 1930’s, are important contributions to the “story about Sweden becoming a modern country”. This “story” consists of the novels, short stories and poems written in the early decades of the 20th century in Sweden.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method.  In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping.  In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.

Cette thèse étudie l'illustration de la presse anarchiste française sous la Troisième République. À la fois propagande et témoignage de l'actualité, cette illustration est analysée à la lumière de ses relations complexes avec les médias contemporains, avec lesquels les anarchistes entretinrent des polémiques sur la nature et le rôle de l'art, sur la place des images dans la propagande, sur les pratiques de presse et sur un certain nombre d'enjeux sociopolitiques internationaux. / This dissertation is concerned with an analysis of artistic creations and photographic documents displayed in French anarchist periodicals as efficient techniques of spreading social and political ideas and news. Such a production is contextualized in relation to the contemporary press with which anarchist periodicals engaged in a number of polemical discussions on art conceptions and on political issues, throughout the Third Republic.

La présente thèse étudie la production et la consommation d’images par les révolutionnaires russes avant 1917. L’auteur soutient que l’iconographie révolutionnaire russe émane d’un long processus au cours duquel les révolutionnaires se sont appropriés et ont subverti certaines images et stratégies visuelles, ainsi que leurs moyens de production, déjà disponibles au sein de la culture qu’ils avaient entrepris de transformer. Cette appropriation est comprise comme une tentative d'insuffler une cohérence idéologique à un mouvement révolutionnaire en émergence et, ce faisant, en proie à une relative désorganisation. L’auteur montre comment l’usage de portraits et de stéréotypes visuels joua un rôle important dans la construction de l’identité et de la conscience révolutionnaires, d’une part, et comment un certain imaginaire révolutionnaire fut cristallisé dans la culture visuelle contemporaine, d’autre part. / This dissertation studies the production and consumption of images by Russian revolutionaries prior to 1917. The author argues that Russian revolutionary iconography emanates from a long-term process in which revolutionaries appropriated and subverted the images, means of production and visual strategies already available in their surrounding cultural context. This cultural borrowing is analyzed as an attempt of the revolutionaries to give an ideological coherence to an emerging but still disorganized political movement. The author shows how portraits and visual stereotypes have been fundamental in the construction of the revolutionary identity and consciousness, on one hand, and how a certain revolutionary imagination have been crystallized in the contemporary visual culture, on the other hand.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.