Orientador: Antonio Carlos Rodrigues de Amorim / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-11T02:42:30Z (GMT). No. of bitstreams: 1 Wunder_Alik_D.pdf: 29939858 bytes, checksum: 6d2333620943a8c339c17d923a275325 (MD5) Previous issue date: 2008 / Resumo: Os pensamentos deste trabalho fazem-se atravessados por fotografias de cenas cotidianas de escolas, produzidas por educadoras; bem como por dizeres em torno destas imagens em cursos sobre a linguagem fotográfica e a educação que realizei entre 2003 e 2006. A partir destes encontros com pessoas, com suas fotografias e com leituras, o advento de inquietações: o que mora nesses gestos habituais de fotografar e olhar fotografias de escolas? Como se dá a criação de sentidos por esses dizeres com imagens? Com que forças, com que tensões? As fotografias produzidas nas escolas parecem querer eternizar momentos de um espaço de passagem, querer deixar marcas de vivências, abrir janelas para o tempo passado. Imagens que entram no jogo de vontade de retenção temporal, mas inexoravelmente, as fotografias nos arremessam a sentidos sem morada no tempo. Fragmentos suspensos, sem antes nem depois, entre a morte e a vida, entre a ferida e a cicatriz, entre janelas profundas e superfícies. Diferentes temporalidades que habitam estes dizeres do passado fissurados pela imprevisível passagem da luz e pela planificação das coisas e seres em uma superfície. O acontecimento neste trabalho é pensado, em especial por esta instabilidade temporal, como um potente desequilíbrio na criação de sentidos por fotografias. Dentro desta tensão de opostos que habita as fotografias, a impossível diferenciação entre o que se capta e o que se esvai, entre o passado retido e o presente sempre fugidio do pensamento. Nesta fissura inapropriável, nesta impossibilidade de um sentido justo, fixo e último, a busca de uma poética e de uma política visual, de um dizer/pensar por imagens de cenas comuns que se aproxime do aberto e do imprevisível. Pensamentos que se passam no entre-lugar de uma tensão diferencial entre a fotografia, a educação e a filosofia, em especial de Roland Barthes e Gilles Deleuze / Abstract: The thoughts of this study are interpolated with photographs of everyday school scenes, produced by educators, as well as with sayings around these images in courses on photography language and the education that I performed between 2003 and 2006. From these encounters with people, with their photographs and readings, the advent of restlessness: what lies in these habitual gestures of photographing and of looking at school photographs? How does the creation of senses through these sayings with images take place? With what forces, what tensions? The photographs produced in schools seem to aim at eternising moments of a space of passage, at leaving marks of experiences, at opening windows into the past time. Images which enter the game of will of time retention, yet inexorably, the photographs cast us into senses with no place in time. Suspended fragments, with no before or after, between death and life, between the wound and the scar, between deep windows and surfaces. The event through photographs in this paper is thought, specially for this time instability, as a potent unbalance in the creation of senses. Within this tension of oppositions which inhabits the photographs, the impossible differentiation between what is captured and what evanesces, between the retained past and the ever escaping present of thought. In this inappropriable fissure, in this impossibility of a just, fixed and ultimate sense, the search for a poetics and for a visual policy, for a saying/thinking through images of common scenes which approaches the open and the unpredictable. Thoughts which take place in the mid-place of a differential tension between photography, education and philosophy, specially the ones of Roland Barthes e Gilles Deleuze / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

My purpose in this essay is to analyse sexual messages and symbolism in music videos. Sexual contact can be depicted in various ways, like symbols of something hidden, not only how men and women relate to each other through a sexual act. I’ve demarcated the study into two music videos: Rammsteins Pussy, and Tommy Chashs Surf, based on the videos controversial reputation from the public. My question at issue is how sexual messages depicture and how symbolism indicates. The study is based on a semiotic model based on Roland Barthes' theory of character, as he presents in the book, Elements of Semiology. The result of this study is that the depiction of sex in these videos is presented as a symbol of personal message, and as a provocation. It reflects previous views on sexuality through the centuries. The provocation itself reinforces the artists image.

Kurt Vonnegut Jr.’s literary style transforms from his first novel, "Player’s Piano" (1952), to his final book, "Timequake" (1997). Most of his novels adhere to a similar style – the narrators face a puzzling societal fault that is exaggerated in their dystopian societies, which hides Vonnegut’s humanistic leanings. This thesis, however, focuses on Vonnegut’s authorial identity, his use of the alter ego, and eventual entrance into the novel. His authorial role challenges the literary theory expressed in “The Death of the Author”(1967) by Roland Barthes and further discussed in “What is an Author”(1969) by Michel Foucault. Barthes explains an author metaphorically dies after his book is published and Foucault questions the author’s role and importance to his novel. Vonnegut juxtaposes fictional and nonfictional material whereby his character is paramount to his work. Therefore, Vonnegut challenges Barthes and Foucault’s notion that an author restricts his work; rather, Vonnegut’s identity empowers his novels.

Denna uppsats undersöker intertextualitet i två texter; en multimodal text i form av ett digitalt spel och en roman. Det intertextuella begreppet utgår i huvudsak från Bakhtin och Barthes. Analysen finner åtskilliga intertextuella samband i motiv och teman mellan de båda texterna. Efter analysen följer en diskussion om implementeringen av denna form av komparativ analys i en klassrumsmiljö, där diskussionen i huvudsak utgår från Olin-Scheller.

El objetivo primario de este trabajo es estudiar cómo Roberto Bolaño utiliza el género policial clásico para construir tres cuentos “Enrique Martín”, “Llamadas telefónicas” y “William Burns” que forman parte de la colección Llamadas telefónicas. Un objetivo secundario es estudiar semejanzas y diferencias en la utilización del género policial clásico entre estos cuentos. Episodios centrales para la trama policial son identificados y analizados utilizando un método de análisis textual, la lectura atenta basada en las teorías de Roland Barthes. Se analiza el grado al cual estos cuentos se atienen a las características típicas del género, así como las semejanzas y las diferencias entre los cuentos. Los tres cuentos contienen tramas y sucesos que son típicos del género policial clásico. El análisis atento de estos episodios muestra que la mayor parte funcionan de manera que dan indicios que, en un verdadero cuento policial, deben tener importancia para la continuación del argumento. Sin embargo, esto no es el caso en estos tres cuentos; típicamente las pistas provistas son falsas y desembocan en la nada. Se concluye que hay semejanzas importantes en cuanto a la utilización del género policial clásico entre estos cuentos.

in English The view of fashion as a system of signification, first introduced in the important work of Roland Barthes The Fashion System (1967), has been dominant since the development of Fashion Studies. But in the last two decades it has been increasingly criticized and confronted with the concepts of identity as flexible dimensions. From a semiotic perspective, the materiality of clothes almost "disappears" into representation. Emerging research on fashion, on the contrary, draws on Gilles Deleuze's notions, that ideas are inseparable from their material expression, and tries to follow attempts in fashion to break with representational mode. But, if Deleuze argues that the possibilities to escape the representation belongs to modern art, with its metamorphoses, what can we argue about fashion? The thesis underlines that above all, fashion is commerce, and each brand carefully constructs its system of values. The physical experience of wearing clothes is always influenced by the meanings circulating in the system of fashion. The limitations of applied semiotics of fashion are evident (clothing and its representations always exist in the context of further semiotic systems), but ultimately unlike the heterogeneity of everyday practice, the "methodological purity" of discursive practices permits...

The thesis deals with intertextuality in Karel Čapek's drama R.U.R. and Dan Wells' trilogy Partials Sequence. The aim of the thesis is the interpretation and subsequent comparison of the above-mentioned works and finding mutual resemblances mostly in the main motives, but also in genre characteristics, environment, story sequence and other topics reflected in both works. Since the topic of the thesis already assumes the existence of intertextual relationship between the two works, therefore the aim of the work is not proving its existence but we are trying to determine how far these similarities goes and whether they are just random intertextual similarities or whether Dan Wells, although he does not admit it publicly, necessarily had to be inspired directly by Čapek's drama. Keywords: intertextuality, Gerard Genette, Roland Barthes, Karel Čapek, R.U.R., Dan Wells, Partials Sequence, robot.

Denna studie undersöker meningsinnehållet i två uppmärksammade reklamfilmer från flygbolagen SAS och KLM. Syftet med studien är att urskilja vilka kulturella värderingar och föreställningar som kommuniceras i reklamfilmerna och hur dessa kommer till uttryck. Samt om det är möjligt att urskilja en underliggande myt i respektive film. Studien anknyter till semiotisk teori, utöver semiotiken ligger Roland Barthes mytteori som ett mer djupgående segment i det teoretiska ramverket. Mytteorin handlar om att belysa masskulturers mytiska karaktär och ideologiska funktion. För att göra undersökningen har en kvalitativ, semiotisk textanalys genomförts av det empiriska materialet. Analysarbetet utgår från ett antal empiriska frågor relaterade till den centrala semiotiska begreppsapparaten. Studiens huvudsakliga resultat identifierar en myt i båda reklamfilmerna. Ur analysen av SAS reklamfilm identifierades myten att kulturer formas i möten med varandra och att den skandinaviska identiteten är uppbyggd av och genom kulturella utbyten. I KLM:s reklamfilm påvisas myten att kunna vara en del av den klimatmedvetna gemenskapen och samtidigt fortsätta flyga. Båda filmerna underbyggs och motiveras av värderingar och föreställningar om att resande och kontakten och möten med människor är något nödvändigt. Filmerna tar sig olika former men möts i en universell tanke om att ‘flyget’ är essentiellt för mänsklig identitet idag. Således återfinns ett gemensamt underliggande budskap som förmedlas i båda texterna, men som tar sig olika uttryck och anspelar på olika myter.

This study explores the potential of semiotics in the non-visual realm of perfumery, focusing on the work of French perfumer Jean-Claude Ellena. Utilizing Roland Barthes’ three levels of signification as a theoretical framework – as presented in his essay Rhétorique de l’image – it analyzes the linguistic, denotative and connotative aspects of three perfumes created by Ellena for the French luxury house Hermès: Un Jardin en Méditerranée, Un Jardin sur le Nil and Un Jardin Après la Mousson. These fragrances serve as case studies, revealing how Ellena consciously utilizes perfumery raw materials as signifiers, in order to create olfactive illusions corresponding to a given signified. The study argues that these illusions serve as a primary communicative force within perfumery, transcending the sum of their individual parts to evoke olfactory imagery and symbolic meanings. Drawing on Ellena’s method, the analysis highlights the interplay between textual and olfactory meaning-making, engaging the user in an immersive narrative experience. This study aims to contribute to the broader academic discourse surrounding the sensory arts, underlining the potential of semiotics in understanding the symbolic narratives inherent in the art of perfumery.

This study delineates the basic concepts and analytical techniques of contemporary French structuralists, namely Levi-Strauss, Lacan, Barthes, Althusser, and Foucault, and critically examines the contribution of their formulations to sociological theory and the implication of such formulations on the methodological orientation in sociology.