Global ETD Search

1	"över de märkta i muren inlagda" : En begrundan över språket i Katarina Frostensons Berättelser från dom Berndtsson, Tim January 2011 (has links) No description available. Katarina Frostenson Berättelser från dom allegori symbol
2	Metaforiskt narrativ i religiös didaktisk litteratur : - en studie av en religiös föreställningsvärlds struktur och övertygande moment Björgvinsson, Ida January 2012 (has links) Uppsatsen undersöker hur en religiös föreställningsvärld framställs och vill övertyga i den moderna berättelsen Ödehuset av William Paul Young. Detta kontrasteras mot en klassisk berättelse från 1678, Kristens resa av John Bunyan. Analysen utgår från ett narrativt perspektiv där handling, karaktärer och miljö är viktigaste begrepp för att ge metaforerna kontext. I narrativet finns peripetier – vändpunkter – som utgör undervisningen om föreställningsvärlden. Metaforerna kring dessa analyseras utifrån en trestegsmetod som innehåller sortering, generell och kontextuell analys. Metaforerna analyseras också med hjälp av metaforteori om riktningar, jämförelse med objekt, och kulturell prioritering. Resultatet visar en förskjutning i det metaforiska språket som betonar miljön, ”kvinnliga” uttryckssätt, och individualism. Metaforerna kategoriseras i natur och riktning och vill anknyta till det jordnära och till ett positivt växande som har med kärlek och inre mognad att göra. Till skillnad från det äldre metaforspråket är de inte heller så explicit knutna till Bibeln. religiös föreställningsvärld homiletik didaktik allegori uppbyggelselitteratur narrativ peripeti metafor
3	Allegori i karaktärsdesign: Ondskans visuella kommunikation Kilefors, Jonatan January 2019 (has links) Utifrån en bakgrund i karikatyrens principer, utforskas idén om karaktärsdesign och hur ondska som en allegori kommuniceras i dess visuella attribut. I huvudsak studeras den animerade tv-serien Adventure Times antagonist - The Lich. Strukturalistiskt semiotik används för att se karaktären genom en sammanflätad kontext, innehållande av seriens narrativ, karaktärsdesign och ondska som en allegori för att se vilka tecken som används för att kommunicera allegorin. Det psykologiska konceptet Jungianska arketyper används som förklaringsmodell av ondskans allegorin och The Lich kontrasteras med andra karaktärsexempel från populärfiktion. En diskussion syntetiseras om hur allegori kommuniceras i The Lich likt metaforer. Genom att sammanföra liknelser som kan tolkas utifrån tecken kan kommunikationen överskrida till en allegorisk kommunikation, där enbart kopplingen emellan andra tecken per se kan överföra ett allegoriskt budskap. / From a background in the principles of caricatures, this paper studies about how the allegory of evil is communicated in a character design’s visual attributes. Primarily the animated cartoon series Adventure Time’s antagonist - The Lich – is studied. Structural semiotics is used to view the character from within an intertwined context, containing of the series’ narrative, character design and evil as an allegory to subsequently determine what signs are used to communicate evil. The psychological concept of Jungian archetypes are used to explain the allegory of evil and The Lich is contrasted with other character examples of popular fiction. A discussion is brought fourth how allegory is communicated like metaphors through The Lich’s character design. By putting metaphors that derived from signs together, the communication can transcend to an allegorical communication where only the connection between signs per se transmits an allegorical message. Visuell Kommunikation Karaktärsdesign Arketyper Karikatyr Animation Adventure Time The Lich Skuggan Jungiansk Psykologi Strukturalism Semiotik Ondska Antagonist Cartoon Network Allegori Psykologi Humanities and the Arts Humaniora och konst
4	"Vi är trollkarlar" : den konstnärliga kampen i Samuel Becketts I väntan på Godot / "We are magicians" : artistic struggle in Samuel Beckett's Waiting for Godot Looft, Helena January 2015 (has links) When the Irish writer Samuel Beckett (1906-1989) wrote Waiting for Godot in 1948-1949 he was in a state of artistic depression and confusion. He had already turned to French instead of English and with a manuscript for the stage he made an effort to get away from what he called ”the awful prose” he was working on at that time. Waiting for Godot had its first opening night in Paris in 1953, and during the years since then many different interpretations have been made of this challenging work of art. In this essay, with the meta textual elements in Waiting for Godot as a foundation, I’m reading the drama as a writer’s struggle with his material – not strictly biographical, but with Beckett as an artistic example. Vladimir and Estragon, as well as Pozzo and Lucky, then become personalizations of the voices in the mind of the author, where intellect/reason/analysis on one hand and intuition/feeling/fantasy on the other are working side by side, or as a pair of opposites, to try to get along through conflict and cooperation; conferring, clashing, and complementing one another. Godot will then function as the mystical and driving force, the necessary lack of purpose or fundamental meaning that keeps the artist in touch with art. In this aspect Godot has not to come; his absence is an absolute condition to get the play going, to keep the writer writing, to make all artists continue their lonely, tiresome, difficult work. Waiting for Godot tells us something about the struggle every writer has to face when writing a play, or a novel, or a poem, where he, or she, has to speak with and listen to the inner voices of intuition and intellect and try to get by in spite of the overall sense of hopelessness of it all. Art is at the same time without meaning and of infinite value and I believe that this paradox is alive and working in Waiting for Godot. Samuel Beckett Waiting for Godot interpretation allegory art writing author authorship Samuel Beckett En attendant Godot interprétation allégorie art écrivant auteur Samuel Beckett I väntan på Godot tolkning allegori konst skrivande författarskap
5	Fängslad skönhet : En ikonografisk/ikonologisk analys av Julia Margaret Camerons fotografi The Rosebud Garden of Girls / Imprisoned Beauty : An iconographic/iconologic analysis of Julia Margaret Cameron’s photograph The Rosebud Garden of Girls Lilja, Linnéa January 2024 (has links) This study aims to analyze the motif of Julia Margaret Cameron’s photograph The Rosebud Garden of Girls from 1868 regarding its literary sources, codes and how the women are depicted. The purpose is to find out whether the photograph romanticize or challenge the Victorian conventions. The applied method is Erwin Panofskys iconographical and iconological analysis methods. The theoretical framework consists of art historian Griselda Pollocks report regarding private and public spheres and how women and men are divided between these. Art historian Leena-Maija Rossi’s reasoning concerning female masquerade has also contributed a theoretical basis. The result shows a paradoxical picture of the Victorian view on women and how this is reflected in The Rosebud Garden of Girls. Julia Margaret Cameron 1860-talet ikonografi ikonologi Panofsky kvinnlighetens rum kvinnlig maskerad iscensatt fotografi The Rosebud Garden of Girls fotografi viktorianska eran prerafaeliterna dräktreform Griselda Pollock Leena-Maija Rossi Alfred Tennyson Maud Sandro Botticelli La Primavera allegori blommor som kvinnliga koder konventioner normer ideal kvinnoförtryck Art History Konstvetenskap

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