I denna essä formulerar jag mig kring mitt måleri och mitt behov av att definiera mötet mellan konstverk och betraktare. Jag försöker att närma mig mötet som tema genom att referera till andra konstnärer och författares begrepp, namn som till exempel Paul Celan, Vera Frisén, Wassily Kandinsky, John Stenborg och Ulf Linde. I essän finns också minnesbilder av möten med måleriet som kommit att påverka mig starkt under min uppväxt, med hjälp av dessa minnesbilder får jag nycklar till att se hur det påverkat det som kom att bli mitt konstnärskap idag. Min förhoppning är att kunna precisera vad detta möte är, kan vara, och slutligen, förstå varför jag klamrar mig fast vid det.

This is a systematic study of tropes of the Holy Qur`an, divided into four chapters… The first chapter is entitled: “An historical review of rhetoric and stylistics” and it consists of two sections; the first section is entitled: “Western rhetoric and stylistics” where as the second section deals with “Arabic rhetoric and stylistics”. The second chapter is entitled: “Tropes and their components” and it consists of two sections; the first section is entitled: “the definition of tropes”. This section deals with the definition of “literal expressions” and “figurative expressions”, and the required condition for figurative expressions; that is the syntactical and semantic coherence and relationships. The second section is entitled: “Components of tropes” which deals with different components of tropes. The third chapter is entitled: “Linguistic tropes of the Holy Qur`an” and it consists of two sections; the first section is entitled: “The spread of linguistic tropes in the Holy Qur`an”. The second section is entitled: “Relationship of linguistic tropes in the Holy Qur`an”. This section quotes each and every relationship of linguistic tropes in the Holy Qur`an. The fourth chapter is entitled: “mental tropes in the Holy Qur`an”, and it consists of three sections; the first section is entitled: “Mental tropes in the Holy Qur`an, from part 1 to part 10”. The second section is entitled: “Mental tropes in the Holy Qur`an, from part 11 to part 20”, and the third section is entitled: “Mental tropes in the Holy Qur`an, from part 21 to part 30”. These sections quote verses of the Holy Qur`an which contain mental tropes. / Religious Studies and Arabic / Psychology

Generally speaking depictive theories attempt to explain the experience of looking at paintings and drawings, in particular they describe the process by which a viewer makes sense of a surface that has been intentionally marked in such a way as to describe some thing in the world. Depictive theories have generally been developed with reference to figurative work where the viewer is able to recognize the depicted object(s). The aim of this thesis is to determine the extent to which they apply to non-figurative work, what is commonly referred to as abstract art, and to identify what factors can influence the understanding and interpretation of such work. The method used is a combination of theory and practice. An analysis of theories of depiction and of contemporary scholarship on the subject is undertaken. Using the results of this work and by reference to the key concepts of these theories an analysis of specific artworks is carried out in a series of case studies. The purpose of the case studies is to identify, in the first instance, how certain theories of depiction can be seen to apply. In other words how they explain the experience of looking at a figurative artwork. The case study approach is an essential element of the methodology of the project. It is used, initially, to interrogate a work by Titian that is, arguably, readily explained by ‘traditional’ depictive theories. The procedure evolved for this analysis is then applied to the less figurative works of Auerbach and Twombly and from this process a non-iconographic approach to depiction is developed which is tested by application to my own work and to that of two contemporary artists. The thesis concludes that a comprehensive theory of depiction must allow for such factors as material and facture and that, as a result of this research, the meaning of the term ‘depiction’ can, under certain conditions, be extended to include for non-figurative work. It suggests that some theories may usefully be modified to accommodate the findings of this research. Dominic Lopes argues that ‘a complete account of pictures should explain abstract pictures as well as figurative ones.’ This thesis is seen as making a contribution to the development of any such account.

Esta dissertação trata da interação entre linguagem escrita e figurativa, aproveitando um debate geral, mas concentra-se na experiência grega sobre o tema. Assim, partindo da compreensão antiga dessa aproximação, serão perseguidos os aspectos gráficos (que integravam conceitualmente escrita e desenho - como indica o verbo graphêin), presentes na cerâmica ática ornamentada do período arcaico. Questões sobre a articulação de fontes escritas e materiais na pesquisa arqueológica também serão tratadas. Estruturalmente, este texto se divide em questões teórico-metodológicas relativas à natureza da documentação e seu tratamento no campo da Arqueologia Histórica e Epigrafia; e as justificativas das delimitações espaço-temporais. Depois, uma discussão sobre o gráfico, de forma geral, caminhando para o caso grego. Por fim, a apresentação de questões gráficas e relacionadas, próprias da documentação selecionada; bem como um estudo de caso: as ânforas panatenaicas / This work deals with the interaction between written and figurative languages in the general debate, but concentrates in the Greek experience about this subject. Therefore, we will begin with the ancient understanding of this approach; the graphical aspects present at Attic decorated ceramics of the archaic period will be pursued (due to the fact that these graphical aspects conceptually included writing and drawing, as it is indicated by the verb graphêin). Questions about the relationship between written and material sources in the archaeological research will be also considered. Structurally, this text is divided in theoretical-methodological questions about the nature of the documentation discussed in the field of Historical Archaeology and Greek Epigraphy and the justifications of time and space limits. After that, it is also included a general debate over the graphic, restricting to the Greek example. Finally, there will be a presentation of graphical questions and the ones related to the chosen documentation, as well as a case study: the panathenaic amphorae.

Lifeline: Expressions of Intimacy Through Paint is a body of paintings that seeks to bridge physical distance by sensually applying layers of oil paint to recreate the physicality of my husband. I allow the viewer to enter into a private exchange by the use of intimately charged spaces, like the bed, which demonstrates how paint can be a conduit for touch in absentia. By intensely remembering my partner in these works, I reconstitute my knowing him through paint and seek to move beyond mere representation to know and express him better. Therefore, these paintings not only bridge the physical distance between my body and his, but search for meaningful expressions of my internal conversations as I make visual discoveries that expand my understanding of him. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

This research examined the stories of three teachers with learning disabilities at the inception of their teaching careers. The research explored the composition of the teacher's professional knowledge, described in the literature as consisting of academic knowledge and personal knowledge. Would the teacher with learning disabilities express her painful childhood school memories in her presentday professional deliberations, as is indicated in the literature relating to case descriptions and research studies? The research question was: what does the 'personal self' of the teacher with learning disabilities at the inception of her career contribute to her 'professional self'? Assisted by the narrative approach that sees a person as creating stories that structure and express his identity, the teachers' stories were collected, recorded and later analysed by interpretative analysis which related to the story's structure and contents. Research data were collected from three sources: the autobiographical story of the teacher presenting personal memories and interpretation for past life events, which illustrate the teacher's interpersonal self and the intrapersonal self. The teacher's reflective feedback regarding her lessons, presented the teacher's interpretations of her professional considerations and a description of an educational event from her work revealed her educativevalue world. All these demonstrated her professional knowledge. The research findings show that coherence exists between the personal story and the professional story and the organising positioning in each of the teacher's stories was identified. It was found that the professional considerations of the teacher, including didactic knowledge, pedagogic knowledge, use of reasoned rules and reading the class map, acted on a background of knowledge that was gathered from the 'personal self' and this enriched the teacher's 'professional self' at the inception of her career.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-27T12:42:16Z No. of bitstreams: 1 Ariane Mieco Sugayama.pdf: 3477465 bytes, checksum: a1259652944592ed320582146ac7fd6e (MD5) / Made available in DSpace on 2017-04-27T12:42:16Z (GMT). No. of bitstreams: 1 Ariane Mieco Sugayama.pdf: 3477465 bytes, checksum: a1259652944592ed320582146ac7fd6e (MD5) Previous issue date: 2017-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / When reading is linked to a monological teaching-learning model, it silences the interpretive voice and marginalizes the reader’s subjectivity. In contrast to this approach, the Think Aloud in Group literacy practice, which is being built by the teachers and researchers in the GEIM research group, seeks to transform the teaching practices as well as the reading identity of their students (QUEIROZ, 2009; TAVARES DOS SANTOS, 2013; among others). The Think Aloud in Group is a dialogical and collaborative literacy practice that aims to provide space to the voice and the subjectivity of readers so that they can share, negotiate, co-construct and evaluate the different meanings of the text in face-to-face interaction (ZANOTTO, 2014a). As a result of the reader’s protagonism, the occurrence of multiple interpretations is possible because each reader can position him/herself in an active and responsive manner regarding the text. For the teacher, working with multiple interpretations has been challenging since the dominant sociocultural model within the school context is of single reading. Thus, the study of multiple text readings is the focus of this thesis, aiming to contribute to the transformation of literary reading teaching. The goals of this study, inserted in the Applied Linguistics area, are: 1) investigate the multiple interpretations of figurative language and the gaps/silences in the short story A Moça Tecelã [The Weaving Girl] (COLASANTI, 2004); 1.2) analyze the socio-cognitive processes involved in the co-construction of multiple readings. The study’s questions are: 1) What were the multiple interpretations of the literary text? 1.1) What are the socio-cognitive processes involved in the co-construction of the multiple interpretations? 2) In which aspects can the investigation of the sociocognitive processes, involved in the co-construction of the multiple interpretations, contribute to literary literacy? This qualitative study (DENZIN; LINCOLN, 2006) has an interpretative orientation (MOITA LOPES, 1994); the research strategy adopted is the instrumental case study. The theoretical basis is related to studies about literacy and literature, the teaching of literature, cognition involved in the interpretation of figurative language, and epistemology of language and communication. The methodological instruments used were: 1) The Think Aloud in Group as method facet; and 2) the reading diary. The subjects of the study were four readers, whose professions are related to reading and to children and young adult literature. The results obtained revealed the co-construction of five readings for the story, which were partially explained through the Parable Theory (TURNER, 1996) and the Theory of Conceptual Blending (FAUCONNIER; TURNER, 2002). However, the data highlighted the readers’ cognitive operations; for example, several inferential rationale involved in the interpretation of figurative language, which were explained in the studies by Zanotto (2010) and Moura; Zanotto (2009). As to the contribution of this study for literary literacy, the data obtained revealed that there was a reflexive comprehension of language figures and of gaps in the text / A leitura, quando atrelada a um modelo de ensino-aprendizagem monológico, silencia a voz interpretativa e marginaliza a subjetividade do leitor. Contrapondo-se a essa abordagem a prática de letramento Pensar Alto em Grupo vem sendo construída pelos professores-pesquisadores do grupo de pesquisa GEIM, buscando tanto uma transformação das práticas docentes quanto da identidade leitora de seus alunos (QUEIROZ, 2009; TAVARES DOS SANTOS, 2013; dentre outros). O Pensar Alto em Grupo é uma prática de letramento dialógica e colaborativa que procura dar espaço à voz e à subjetividade dos leitores, a fim de que possam partilhar, negociar, coconstruir e avaliar os diferentes sentidos do texto numa interação face a face (ZANOTTO, 2014a). Em decorrência desse protagonismo do leitor, é possível ocorrer múltiplas leituras, pois cada leitor pode se posicionar de forma ativa e responsiva perante o texto. Para o professor, o trabalho com as múltiplas leituras mostra-se desafiador, já que o modelo sociocultural dominante no contexto escolar é o da leitura única. Por essa razão, o estudo das múltiplas leituras do texto constitui o foco desta tese, visando contribuir para a transformação do ensino de leitura literária. Os objetivos desta pesquisa, inserida na área da Linguística Aplicada, são: 1) investigar as múltiplas leituras da linguagem figurada e das lacunas/silêncios do texto A Moça Tecelã (COLASANTI, 2004); 1.2) analisar os processos sociocognitivos envolvidos na coconstrução das múltiplas leituras. As perguntas de pesquisa são: 1) Quais foram as múltiplas leituras do texto literário? 1.1) Quais os processos sociocognitivos envolvidos na coconstrução das múltiplas leituras? 2) Em quais aspectos a investigação dos processos sociocognitivos, envolvidos na coconstrução das múltiplas leituras, pode contribuir para o letramento literário? Esta pesquisa, de natureza qualitativa, (DENZIN; LINCOLN, 2006), tem orientação interpretativista (MOITA LOPES, 1994) e a estratégia de pesquisa adotada é o estudo de caso instrumental. A fundamentação teórica relaciona-se a estudos sobre letramento e leitura, ensino de literatura, cognição envolvida na interpretação da linguagem figurada e epistemologia da linguagem e da comunicação. Os instrumentos metodológicos utilizados foram: 1) o Pensar Alto em Grupo em sua faceta de método e 2) o diário de leitura. Os sujeitos da pesquisa foram quatro leitoras, cujas profissões se relacionam à leitura e à literatura infanto-juvenil. Já os resultados obtidos revelaram a coconstrução de cinco leituras para o conto, que foram parcialmente explicadas pela Teoria da Parábola (TURNER, 1996) e pela Teoria da Mesclagem Conceptual (FAUCONNIER; TURNER, 2002). No entanto, os dados evidenciaram operações cognitivas dos leitores, como, por exemplo, diversos raciocínios inferenciais envolvidos na interpretação da linguagem figurada, que foram explicados pelos estudos de Zanotto (2010) e Moura; Zanotto (2009). Em relação à contribuição desta pesquisa, para um letramento literário, os dados obtidos revelaram que houve uma compreensão reflexiva das figuras de linguagem e lacunas do texto

During high-impact weather events like Hurricane Harvey, broadcast meteorologists take on the role of sensegiver, as they develop frameworks to help their viewers make sense of the storm. These frameworks are communicated through rhetorical choices evident in the language the meteorologists use to describe the storm’s threat and impact. This study investigates the rhetorical choices of KHOU broadcast meteorologists during Hurricane Harvey in order to make sense of the disaster, using an inductive thematic analysis. The results indicate that the KHOU broadcasters framed Harvey figuratively as an all-encompassing monster and a heat-seeking machine. The meteorologists used emotionally intense language to emphasize their concern about the forecast, to compare the event to previous flooding disasters, to describe Harvey’s catastrophic impact, and to express disbelief regarding the situation unfolding around them. These results show how sensegiving can be articulated rhetorically via specific language features like describing Harvey as a monster, or comparing Harvey’s impact to Hurricane Katrina. These specific language features identified here should be tested for their effectiveness in order to allow meteorologists across the weather enterprise to speak about threats and impacts in a more consistent manner.

The relationship between the literal language and conduct problems among conduct disordered adolescents was examined in 109 subjects. The inability to use figurative language was found to be positively related to ratings of conduct problems. Both the parents' discipline style and nonuse of figurative language were related to 111 conduct problems in conduct disordered adolescents. The possible role of other variables, for example, age, sex, and IQ, was examined. Possible mechanisms that could relate the lack of figurative competence and conduct problems were explored.

SELF/PORTRAIT is an exploration of the creative process. Based in the genre of portraiture, this collection of work seeks to reveal the ways in which the artist's relationships and circumstances have factored into the creation of the resulting exhibition. This exploration involves the assessment of abandoned projects with the aim of gaining a greater understanding of their qualities that have served to motivate the creation of his art, and those that have hindered his artistic process. This thesis exhibition and support paper use an autobiographical approach to seek the elements of the artist's perception of art which have influenced the production of the work displayed, and how these are effected by the task of creating a Master's thesis exhibition. It explores the qualities of both Portraiture and Painting which have inspired and directed his endeavour. SELF/PORTRAIT seeks to display the artist's work as a process rather than a product.