The central theme of the diploma thesis is fashion photography on the cover pages of Vogue magazine international editions. In the empirical section, the author uses a combination of quantitative content analysis and qualitative semiotic analysis based on the concept of the French semiotics Roland Barthes. The quantitative section of the analysis works with a sample of 87 photographs, from which 8 images are later selected for the semiotic part. At the denotative level, the analysis looks for common and different signs of individual editions. At the level of the connoted image, the author tries to decode the contained signs and their meanings. The semiotic analysis traces linguistic messages, the narrative, the paradigmatic and syntagmatic arrangement of photography, or the presence of national identity. Part of the work is also a theoretical section dedicated to fashion magazines and changes in the aesthetics of fashion photography. This part contains an excursion into the history and present of fashion photography and presents prominent personalities in the field. In the theoretical part, the author defines the terms that form the ground for empirical research. At the end of the work, the results of the analysis and their interpretation are presented.

In this paper I will address the philosophies of Susan Sontag, Roland Barthes and Thomas Ruff by considering the object, materials and processes of photography as my primary motivator to create art. I will examine the contrast between photographic imagery, as an illusion of the past, and sculpture, as a physical manifestation of the present, when creating works that ask, "What else can photography be?"

Syftet med undersökningen är att visa på vilka sätt marknadsföring av svenska destinationer använder sig av hedonistiska teman för att övertyga läsaren. Detta undersöks genom att studera hur hedonistiska teman uttrycks genom text, bild och samspelet mellan text och bild. Studien fokuserar på fyra teman med hedonistisk grund: frihet, närvaro, autenticitet, samt spänning. Dessa teman identifieras i materialet med hjälp av semiotisk analys hämtad från Roland Barthes. Studiens material är utdrag från webbplatser från destinationsbolagen för Gotland, Höga Kusten och Skåne. Analysen visar att dessa hedonistiska teman uttrycks i bild med hjälp av komposition, bakgrundsmiljöer, ljusförhållanden, föremål, ansiktsuttryck, handlingar och personlig stil. De visuella medlen fungerar både på en denotativ och konnotativ nivå. Temana uttrycks i text genom formuleringar som nyttjar denotativ och konnotativ betydelse i olika hög grad och några återkommande sätt att hämta konnotationer är genom yrken, aktiviteter och utländska platser. Analysen av samspelet mellan text och bild visar att samspelet kan förstärka, förändra och skapa både denotativ och konnotativ betydelse tillsammans, men att potentialen i samspelet ibland inte nyttjas. Analysen visar också att materialet i högre grad kommunicerar genom bild än genom text.

Made available in DSpace on 2016-04-28T19:58:49Z (GMT). No. of bitstreams: 1 Gissela Mate.pdf: 517584 bytes, checksum: e1b28ba8f7466aa94905c8df5863be45 (MD5) Previous issue date: 2013-04-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to make a link between the poetry of Paulo Leminski and discourse about the passion in its different manifestations. With the help that came from the reading of the book A Lover's Discourse: Fragments, from Roland Barthes, we recognize several faces of the passion in the poetry of Paulo Leminski. Based on this experience of reading, we propose two basic subjects: the passion for the language and the language of the passion. This research develops through the analysis of eighteen poems by Paulo Leminski and it also indicates evidences of the working with passion‟s feeling: in a thematic way, addressing the speech directly to be loved, or showing the poet's fascination with language and the movement of poetic creation itself. Throughout the development of this work, we highlight the presence of passion for language in the analyzed texts, which motivated us to incorporate the loving affection in the way of looking at the subject matter and, therefore, of writting about it. This work expresses the encounter between the work of Leminski, an organic and intense writer, with a critical text that emphasizes the play value of the author, bringing some of the nuances of the poetic to academic discourse / Este trabalho tem o objetivo de realizar uma articulação entre a poesia de Paulo Leminski e o discurso sobre a paixão em suas diversas manifestações. Com a ajuda da leitura da obra Fragmentos de um discurso amoroso, de Roland Barthes, reconhecemos várias faces da paixão na poética leminskiana. A partir dessa experiência de leitura, propomos dois temas fundamentais: o da paixão pela linguagem e o da linguagem da paixão. Esta pesquisa se desenvolve com a análise de dezoito poemas de Paulo Leminski e aponta indícios do trabalho com o sentimento da paixão, sejam eles temáticos, dirigindo-se ao ser amado diretamente, sejam do fascínio do poeta pela linguagem e pelo movimento de criação poética em si. Ao longo do desenvolvimento desta dissertação, destacamos a presença da paixão pela linguagem nos textos analisados, o que nos motivou a incorporação da afetividade amorosa na forma de olhar o objeto de estudo e, consequentemente, de escrever sobre ele. Assim, este trabalho expressa o encontro entre a obra de Leminski, um autor orgânico e intenso, com uma escrita crítica que destaca o valor lúdico do autor, trazendo algumas nuanças do fazer poético ao discurso acadêmico

I uppsatsen kommenteras en egen översättning av utdrag ur Roland Barthes fackartikel Éléments de sémiologie. Denna avser följa Immanuel Wallersteins regler för termöversättning av human- och socialvetenskapliga texter samt riktlinjer framtagna av the Social Science Translation Project (2006). Källtexten präglas av explicita referenser till andra texter. Två uttryck för detta som här tas upp är citat och explicit intertextuella termer (i synnerhet det senare). Den första frågeställningen är om ett mottagande intertextuelt fält kan användas för att översätta dessa. Det visar sig vara ett väsentligt redskap, men inte självtillräckligt eller entydigt. Den andra är hur de med hjälp av detta redskap valda målspråkstermerna förhåller sig till Nuopponens och Pilkes (2016) kriterier för ”goda termer”. Analys av de målspråkstermer som valts, vilka är låneord, visar att olika klasser av låneord har tendens att hänga samman med vissa typer av terminologiska för- och nackdelar. / The thesis is a commentary of my own translation of an excerpt of Roland Barthes article Éléments de sémiologie. Its aim is to follow Immanuel Wallerstein’s rules for translation of terms in social sciences as well as the guidelines developed by the Social Science Translation Project (2006). The orignal text is characterized by explicit references to other texts. Two elements that will be presented in the thesis are quotes and explicitly intertextual terms (with a focus on the latter). The first question is if a receiving intertextual field could be used to translate these elements. It turns out to be a fundamental tool, but not self-sufficient or unequivocal. The second question is how the chosen terms of the target language, with help from said tool, relate to Nuopponens and Pilkes (2016) criteria for ideal terms. An analysis of the chosen terms of the target language, which are borrowings, shows that different groups of borrowings tend to be associated to certain types of terminological pros and cons.

This essay starts out in the world of art science looking out through the glasses of Anne D’Allevas analysis of performance and videoart, digital art and Roland Bathes Semiotics. By using Meta narratives and Popular culture we will examine how one music video and one video artwork lives in the same sphere. The point of this essay is to raise awareness of how popular culture is viewed both within, but also outside of the academic world. This essays will thoroughly analyze and discuss the differences that can be discovered when comparing music videos to video art. By connecting these findings to meta narratives we will uncover cultural and time specific traits, temporalities and narrative-structures.

Based on the semiotic analysis, this diploma thesis analyses mythological frameworks of chosen magazines. It consists of two parts, a theoretical and a practical one. The theoretical part is focused on semiotics as science, examines a sign and its historical development, describes myth, its history and research, as well as defines a theoretical starting points leading to definition of mythological framework. This definition is built on the theory of decoding and encoding of Stuart Hall, as well as his representation acknowledgements, as well as on the works of Claude Lévi-Strauss and Roland Barthes examining the myth. The practical part consists of definition of research-subject and semiotic analysis of mythological frameworks in front pages of Reflex and Respekt magazines. Findings of this analysis are then compared. This comparison leads to confirmation or disproval of hypotheses the author articulated prior to the analysis.

I uppsatsen kommenteras en egen översättning av utdrag ur Roland Barthes fackartikel Éléments de sémiologie. Denna avser följa Immanuel Wallersteins regler för termöversättning av human- och socialvetenskapliga texter samt riktlinjer framtagna av the Social Science Translation Project (2006). Källtexten präglas av explicita referenser till andra texter. Två uttryck för detta som här tas upp är citat och explicit intertextuella termer (i synnerhet det senare). Den första frågeställningen är om ett mottagande intertextuelt fält kan användas för att översätta dessa. Det visar sig vara ett väsentligt redskap, men inte självtillräckligt eller entydigt. Den andra är hur de med hjälp av detta redskap valda målspråkstermerna förhåller sig till Nuopponens och Pilkes (2016) kriterier för ”goda termer”. Analys av de målspråkstermer som valts, vilka är låneord, visar att olika klasser av låneord har tendens att hänga samman med vissa typer av terminologiska för- och nackdelar. / The thesis is a commentary of my own translation of an excerpt of Roland Barthes article Éléments de sémiologie. Its aim is to follow Immanuel Wallerstein’s rules for translation of terms in social sciences as well as the guidelines developed by the Social Science Translation Project (2006). The orignal text is characterized by explicit references to other texts. Two elements that will be presented in the thesis are quotes and explicitly intertextual terms (with a focus on the latter). The first question is if a receiving intertextual field could be used to translate these elements. It turns out to be a fundamental tool, but not self-sufficient or unequivocal. The second question is how the chosen terms of the target language, with help from said tool, relate to Nuopponens and Pilkes (2016) criteria for ideal terms. An analysis of the chosen terms of the target language, which are borrowings, shows that different groups of borrowings tend to be associated to certain types of terminological pros and cons.

This thesis deals with the poster of the Nazi Third Reich and the ideology shaped by the images and text communication, which it presents. The work looks at the poster as an important medium of communication that served Nazi propaganda to spread National Socialist ideology. This thesis aims to analyse these myths and debunk them in the way how Roland Barthes defines them in his book Mythologies. The author of the diploma thesis applies the traditional method of qualitative research of the media content - mythological and semiotic analysis - to demystify the myths and semiotic characters used in the selected Nazi posters. The first part of the thesis contains terminology, the second part presents the analysis of the individual posters, which are divided into several groups. In the conclusion of the thesis, the author presents a list of common symbols and myths, which are the result of the analysis.

Made available in DSpace on 2016-04-26T18:15:17Z (GMT). No. of bitstreams: 1 Ivan Goncalves Feitosa Filho.pdf: 9950803 bytes, checksum: 81e1b8565c7957d25f3df59f964001c3 (MD5) Previous issue date: 2015-08-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research situates its object of study, the « photographic message », in the context of the journalism in the political campaign to the cityhall of São Paulo in 2012 and has as main target the analysis of the tensions between denotation and connotation. It works with the barthesian hypothesis in agreement in which the media messages develop connoted systems, of double signification, one of which the connoted message offers the necessary categories for the analysis of the image and of the text, and its ramifications in the printed media that influence notably the choice of the reader/voter, being this last question that justifies the proposal of the dissertation. The main contribution of the work consists of the application of the categories of the « photographic message » to the publications of printed media of two media vehicles of the context of a political campaign. Metodologicaly, the reaearch is bibliographical, analytical and documentary, of qualitative character, showing like such messages exceed, for the connotation, the limits of the denotative information. The corpus of the research includes the publications of two newspapers of major circulation in the country: O Estado de Sao Paulo and A Folha de Sao Paulo, in their inseparably photographic and textual registers of the above-mentioned campaigns. The theoretical fundamentation for the field of the photography understands the barthesian theory especially that proposal in Mythologies - exegesis of specific works of the author: The Obvious and the Obtuse, Camera Lucida, «The Photographic Message» and Semiologic Adventure. For the field of the journalism, the images are explored introducing significant elements of increase in value as to the journalistic treatment of such a political campaign, essentially centered in showing the defining characteristics of the global image of the candidates and of the competing parties, the communicative intention of both newspapers in his ideological positioning which goes and meets the criticism in Mythologies / Esta pesquisa situa seu objeto de estudo, a «mensagem fotográfica», no âmbito do jornalismo na campanha política à Prefeitura de São Paulo em 2012 e tem por objetivo a análise das tensões entre a denotação e a conotação. Trabalha com a hipótese barthesiana segundo com a qual as mensagens midiáticas desenvolvem sistemas conotados, de dupla significação, uma das quais a mensagem conotada oferece as categorias necessárias para a análise da imagem e do texto, e seus desdobramentos na mídia impressa que influenciam notavelmente a escolha do leitor/eleitor, sendo esta última questão a que justifica a proposta da dissertação. A principal contribuição do trabalho consiste na aplicação das categorias da «mensagem fotográfica» às publicações de mídia impressa de dois veículos midiáticos no contexto de uma campanha política. Metodologicamente, a pesquisa é bibliográfica, analítica e documental, de caráter qualitativo, mostrando como tais mensagens ultrapassam, pela conotação, os limites da informação denotativa. O corpus da pesquisa abrange as publicações dos dois jornais de maior circulação no país: O Estado de São Paulo e a Folha de São Paulo, em seus registros inseparavelmente fotográficos e textuais das referidas campanhas. A fundamentação teórica para o campo da fotografia compreende a teoria barthesiana notadamente aquela proposta em Mitologias - exegeses de obras específicas do autor, como O Óbvio e o Obtuso, Câmera clara, «A Mensagem fogtográfica» e Aventura semiológica. Para o campo do jornalismo, exploramse as imagens introduzindo elementos de valorização significativos a respeito do tratamento jornalístico de tal campanha eleitoral, essencialmente centrado em mostrar as características definidoras da imagem global dos candidatos e dos partidos concorrentes, a intenção comunicativa de ambos os jornais no seu posicionamento ideológico que vai ao encontro da crítica em Mitologias