Texte remanié de: Diss.--Geographisches Institut--Universität Tübingen, 1993. / Résumé en anglais. Bibliogr. p.340-359.

<p> This paper examines the history of sports communication and main topics in sports communication such as fan culture, crisis communication, and gender in sport. In order to have a successful college class, there needs to be effective pedagogy. The types of pedagogy that will best fit a sports communication course are either problem-based learning or case-based learning. </p>

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Le terme manga a été utilisé pour la première fois en 1814 par le peintre Katsushika Hokusai pour désigner ses travaux. Littéralement ce terme signifie « esquisse rapide » ou encore « image dérisoire ». En France le mot manga a perdu cette signification et désigne la bande dessinée japonaise au même titre que l’on nomme comics la bande dessinée américaine. La bande dessinée japonaise est, en termes quantitatifs, le premier marché du monde dans ce secteur. Beaucoup plus diversifié dans les sujets abordés que ne le donnent à penser les dessins animés diffusés sur le petit écran en France, le manga a longtemps été un genre peu connu des « bédéphiles » européens. Aujourd’hui, le manga connaît un fort essor en France et tend à s’imposer comme produit et phénomène culturel, pour toute une génération qui a grandi avec son arrivée sur les postes de télévision. Dans ce travail de thèse, il s’agit de comprendre le manga en tant que dispositif communicationnel. En raison de ses spécificités graphiques et narratives nous pouvons appréhender un procédé visuel-narratif qui lui est propre. Celui-ci modifie le rapport iconique/linguistique, construit un nouveau mode de lecture et joue sur les perceptions. Il génère un jeu tensif entre ce que le lecteur-spectateur regarde et ce qu’il voit. Le manga diffuse dans notre société un univers graphique, mais aussi et surtout, une technique de la narration visuelle qui peut se passer de texte. L’image est à la fois vue et lue. Dans le manga, lire l’image c’est lire le texte ou pour le dire autrement, il y a du texte-image, de l’image-texte. Elle est en elle-même un dialogue qui agit sur les sensations et les perceptions. Au travers de ses représentations, le manga montre une image de sa culture. Il diffuse par ses personnages des normes et des valeurs ainsi qu’un imaginaire pouvant « influencer » son lectorat et générer de nouvelles pratiques sociales. Par ses spécificités l’image manga devient mouvante. Elle inclut le lecteur-spectateur : celui-ci a la possibilité de naviguer, d’errer dans l’image. Notre travail de recherche porte sur l’analyse des procédés « visuels-narratifs » du manga qui génèrent un nouveau rapport à l’image et un jeu d’interactions entre l’image et son « lecteur-spectateur », ainsi que sur le processus de transmission des messages dans le manga. / The manga term was used for the first time in 1814 by the painter Katsushika Hokusai to indicate his works. This term literally means “fast rough sketch” or “derisive image”. In France the original meaning of the manga word has been lost and it is now employed to indicate the Japanese comic strip in the same way as we name comics the American comic strip. The Japanese comic strip is, in quantitative terms, the first market of the world in this sector. The topics covered in the written manga are much more diverse than the “cartoon-manga” broadcasted on tv in France. Not so long ago, the manga was a little-known genre by the European comic readers, the “bédéphiles”. Nowadays, the manga is a growing genre in France and it tends to develop and become a cultural product and phenomenon, for all a generation who grew up with the first manga on tv. This thesis explores the manga culture and analyzes it as a primary device in a whole communication system. Its graphic and narrative aspects reveal a particular visual-narrative process, specific to the manga. It modifies the image and language combination, it builds a new reading mode and plays with perceptions. It generates a stretching game between what the reader-spectator looks at and what he sees. The manga spreads in our society a graphic universe but most of all, a specific visual storytelling technique that replaces narration words. At the same time, the image is seen and read. In the manga, to read the image it is to read the text. In other words, the picture is narrative and the narration is pictured. There is a text-image, an image-text. The image is in itself a dialogue which acts on the sensations and the perceptions. In its depiction, the manga reflects its culture. It spreads characters, norms, values and an imagination which can “influences” his readership and generates new social practices. By its specificities the manga image is unstable and moving. It involves the reader-spectator: this one has the possibility of navigating, of roving in the image. This research work analyzes the manga “visual-narrative” interactive processes which generates a new relationship to the image and creates a playful interaction between the image and its “reader-spectator”, and it becomes a narrative process to transmit messages in it.

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Thesis (MPhil)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: The remarkable story of Tsotsi as a gangster in the movie Tsotsi offers several examples of language variation and of language choice as a marker of identity. The situations and contexts portrayed in the movie define, to some extent, the choices of language or variety speakers make. Context-specific factors playing a determining role include gender, purpose, geographical location, social class, and age. Tsotsi, the main character, is a gangster living in Sophiatown, a township outside Johannesburg. The term “tsotsi” generally refers to one who is well-dressed and stylish, but with an undercurrent of dangerous adventure; the character portrayed by Tsotsi in the movie is a self-made man, successful in terms of township gangster culture. The movie traces six days in the life of this young hoodlum, who rediscovers his humanity through various challenges and personal relationships in his surroundings; he finds dignity and the capacity to love through having to take care of a baby accidentally kidnapped during a car hijacking episode, through his friendship with the young woman he forces to take care of the baby, and ultimately through confronting haunting memories of his past. Tsotsi’s mother tongue is Sotho, but Flaaitaal is his language of choice in certain contexts, marking his identity as a tsotsi. This study considers the language variation typical of South Africa, as exemplified by the language choices made by the various characters in the movie. An analysis is offered of the language choices which play a role in defining the identities of the characters in various contexts, such as the use of Flaaitaal by the gangsters among themselves, who switch to Sotho when the more socially acceptable aspects of their identities should come to the fore, and the use of Sotho by the white police captain while interviewing the Sotho parents of the kidnapped baby. It is this function of language choice as a marker of identity that is the focus of the present work. / AFRIKAANSE OPSOMMING: Die merkwaardige storie van Tsotsi as ‘n bendelid in die rolprent Tsotsi bied geleentheid vir die analise van talle voorbeelde van taalvariasie en van taalkeuse as ‘n merker van identiteit. Die situasies en kontekste wat in die rolprent weergegee word definieer tot ‘n mate die sprekers se keuse van taal of variëteit. Faktore spesifiek tot die konteks wat hierin ‘n rol speel sluit in geslag, funksie, geografiese ligging, sosiale klas, en ouderdom. Die hoofkarakter Tsotsi is ‘n bendelid wat in Sophiatown buite Jonhannesburg bly. Die term “tsotsi” verwys oor die algemeen na iemand wat stylvol voorkom, maar met ‘n agtergrond van gevaarlike avontuur; die karakter wat deur Tsotsi gespeel word is ‘n self-gemaakte man, suksesvol in terme van die bende-kultuur van areas soos Sophiatown. Die rolprent fokus op ses dae van hierdie jong bendelid se lewe, waar hy sy menslikheid herontdek deur verskeie uitdagings en persoonlike verhoudings; hy ontdek menswaardigheid en die vermoë om lief te hê deurdat hy vir ‘n baba moet sorg wat per ongeluk ontvoer word tydens ‘n motorkaping, deur sy vriendskap met die vrou wat hy forseer om die baba te versorg, en uiteindelik deurdat hy sy herinneringe aan sy verlede moet konfronteer. Tsotsi se moedertaal is Sotho, maar Flaaitaal is die taal wat hy in sekere kontekste kies om sy identiteit as tsotsi te merk. Hierdie studie fokus op die taalvariasie wat tipies is van Suid-Afrika soos dit deur die taalkeuses van verskeie karakters in die rolprent voorgestel word. ‘n Analise word aangebied van taalkeuses wat ‘n rol speel in die definiëring van die identiteite van die karakters in verskeie kontekste, soos die gebruik van Flaaitaal onder die bendelede self, wat na Sotho oorslaan in situasies waar die meer sosiaal-aanvaarbare aspekte van hul identiteit uitegebeeld behoort te word, en die gebruik van Sotho deur die blanke polisiekaptein as hy die Sotho ouers van die ontvoerde baba aanspreek. Dit is hierdie funskie van taalkeuse as ‘n merker van identiteit wat die fokus vorm van hierdie studie.

New Ways To Express Old Hatred is a sociological account of the consistencies and changes comic racist discourse has experienced over the past forty years in British popular culture, accounting for both content and communicative form in relation to the ethics and aesthetics of humour. The main focal point of the study concerns a case study representative of the communicative changes installed by the digitalisation of media in the cultural public sphere. Sickipedia.org which demonstrates a contemporary, participatory comic community that is simultaneously representative of popular culture. Sickipedia.org circulates explicit comic racist material on a large scale across several formats including its main website, several smart phone applications and a range of social media including Facebook and Twitter. This contemporary emergence of comic racism is discussed in relation to the historical context of wider comic racism in British popular culture, comparatively evaluating the form and content of material from the 'clubland' humour of the 1970s, the anti-racist tradition of 1980s Alternative comedy, the thematically fragmented popular comedy of the 1990s through to prejudicial liquidity evident in more recent comedy. The central argument being asserted is that comic racist discourse has been consistently reproduced for the last forty years. However its communicative form, aesthetic presentation and in some cases its content has undertaken a process of transformation in order for it to be circulated in contemporary popular cultural products unchallenged by both social critics and institutional authorities. Critical humour studies stresses that ridicule-based humorous discourse must be treated critically, especially if that ridicule is directed at groups who are socially marginalised. Comic racism represents the discursive stability of traditional racist discourses that have circulated in society since the Enlightenment, reproducing the ideological perspectives of white supremacy, social exclusion of 'Others' and the perceived, amalgamated biological and cultural inferiority of non-white 'races'. Drawing from content analysis and critical discourse analysis of Sickipedia.org, this study, on a textual level, with reference to theory and history, critically discusses the persistent reproduction of comic racism in the cultural public sphere of the UK, deconstructing the hateful messages embedded in racist jokes and providing an original contribution to critical humour studies.

Curious to understand my fascination with and attraction to certain individuals who live and work in urban, often economically disadvantaged environments, my thesis exhibition explores properties of paint and image to develop a personal and compelling visual vocabulary that communicates as well as celebrates the strength, power, confidence and swag of these individuals. This work investigates the "face" people front in public in order to survive their situations. Representing individuals within my own community in Miami, these portraits help me come to terms with the way I too have adopted and performed identities of survival. Additionally, I want this work to make visual record of these compelling individuals rarely acknowledged within the history of art. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

In the last thirty years appropriation has been studied as the practice of reworking earlier works of art or literature by presenting them in new contexts, or to challenge notions of individual creativity or authenticity in art. However, the term "appropriation" is hotly debated in the fields of Indigenous and Post-colonial studies for technologies such as the English language, writing and visual art have for a long time assumed the connotation of 'colonial property'. The object of this enquiry is to explore the extent to which Indigenous Australian appropriations of the English language, writing and visual art, provide -- though they differ widely in terms of themes, strategies and styles -- a terrain for discussing unexplored issues of intercultural representation, epistemology and interpretation. The dissertation offers a close reading of literary and visual "practices of proximity", such as interlanguages, editorial relations and cross-cultural exhibitions, in order to demonstrate that Indigenous Australian appropriations variously disrupt neo/colonial claims of property. This dissertation is organized thematically, and consists of three parts entitled "Interlanguages", "Intertextual Performances" and "Contested Sights". Each part consists of three chapters, which move from an initial questioning of technology as colonial property, to the close analysis of some Indigenous appropriations and non-Indigenous counterappropriations. Situated at the crossroads between Indigenous and Postcolonial studies, the dissertation offers insights into the timely debates on sovereignty, difference and subject positioning. The combination of theories of "appropriation" and "intersubjectivity" illuminates a new path in theorizing Australian intercultural relations. The Australian contact zone is unveiled as a place of Indigenous sovereignty where the colonial subject is ontologically and epistemologically constituted in correlation with Indigenous peoples. Thereby, the Indigenous/non-Indigenous intersubjective relation is recognised as the ground from which notions of the colonial self and other derive and which colonial reifying selfreflection has misconceived as separate.