[pt] A proposta deste estudo é mapear os procedimentos narrativos empregados em dois romances de Carlos Sussekind. Através de uma leitura semiológica das capas, percebe-se a interação entre forma e conteúdo no processo de produção de sentido. A utilização de procedimentos pertencentes à tradição do romance, em um contexto de produção literária denominada pós-moderna, une tradição e ruptura através de uma perspectiva paródica. A duplicação de instâncias narrativas é localizada em Armadilha para Lamartine como principal estratégia que, simultaneamente, cinde e gera uma unidade estrutural. A atribuição autoral apresenta-se, também, como um elemento de indeterminação, gerando uma investigação em um nível paratextual. Em Que pensam vocês que ele fez, a utilização do procedimento de encaixe narrativo revela a união entre convenção e transgressão, sob o aspecto da fragmentação do discurso e da identidade dos narradores. A escrita diarística, como método narrativo, assume, nos dois romances, uma importância distinta como estratégia por ser, nesse caso, uma apropriação e uma ficcionalização de textos de um diário dito real. O resultado da reunião de procedimentos tão distintos é a sofisticação das estruturas narrativas encontradas nos romances analisados. / [en] The purpose of this study is to map the narrative devices used in two novels by Carlos Sussekind. A thorough semiological reading of the book covers points to the interaction between form and content within the process of generating meaning. The use of conventional narrative devices in the context of postmodern literary production links tradition and transgression through a parodic perspective. In Armadilha para Lamartine the duplication of narrative levels is shown to be the main strategy, simultaneously fracturing and generating structural unity. The unclear authorship of the novel generates a paratextual approach. In Que pensam vocês que ele fez the use of frame tales as a narrative device reveals the combination of tradition and transgression, in the form of fragmentation of the discourse and of the narrator`s identity. Diary writing as a narrative method assumes in both novels a distinctive strategic importance because it is, in this case, appropriation and fictionalization of a so-called real diary. This combination of different devices results in a sophisticated narrative structure in both novels.

This thesis deals with the current media communication, visual image of Barack Obama on the front pages of Time magazine, and the application methods of semiological analysis inspired by Roland Barthes. Semiological analysis is performed on selected front pages of Time magazine. There is always determined and described the method that is subsequently applied at the beginning of each analysis. Utilized concepts are reading the image, denotation, connotation and myth. Attention is also drawn to the concept of photography and the relationship between text and image. The work refers to the use of Barthes theoretical concepts in contemporary visual communication. I also focused on innovation methods semiological analysis using knowledge of social semiotics. The basic reference lines and hypotheses include: efforts to use concepts of denotation, connotation and myth in the analysis of visual images of the known politician, monitoring the relationship between text and image on the front pages. The analysis results are reviewed and supplemented by analysis of trends in the composition of politician image. The work examins the applicability of semiological methods in visual environment and also focuses on the results of the analysis. The image of Barack Obama is a sort of visual communication, where the...

Qu'est-ce qui prédispose le Portugal, le Brésil, le Québec, et l'Indiana aux USA, à mettre en place des sites institutionnels des récits de vie comme les musées de la personne, contrairement en France, où des initiatives de ce genre relèvent de la vie privée ? Nous nous interrogeons sur la force que peuvent revêtir ces récits de vie vidéos et sur le choix de ces pays de les podcaster : s’agit-il de redonner la parole à toutes les générations, les rendre plus visibles ou audibles, dans le but de transmettre, de laisser des traces pour la postérité ? Quelle est la teneur des ces traces, et qu’est-ce qui s’opère dans l’interaction entre générations ? Nous recherchons à podcaster et étudier les traces sémiotiques, sémantiques, sémiologiques des récits de vie issus de ce réseau de sites « Musée de la personne » de ces 4 pays. Nous considérons que les traces de la mémoire vivante des récits présents sur des supports numériques ou audiovisuels, constituent un édifice aussi matériel qu’un musée dans un espace donné. Le récit de vie traduirait une immémorialité, « un mouvement permanent entre temps présent et temps passé, des informations ou des événements passés et présents marquent le dialogue présent ». Nous sommes en présence de normes nouvelles, mais surtout en présence de paradigmes successifs ou de mouvements paradoxaux de recontextualisation et de reconfiguration symbolique, au fur et à mesure que ces récits de vie se transmettent d’un citoyen à un autre. Ces récits et « ces pratiques mémorielles sont très vivants chez les Anglais et les Australiens ». Il nous semble que les récits de vie peuvent participer à la formation du lien social entre générations, entre citoyens nationaux et non nationaux. Ce lien social doit s’inscrire dans l'attention et la responsabilité portée et partagée entre ascendants et descendants. Ce programme d'attention aux générations s'appelle la « neguentropie ». Il s'agirait d'un programme éthique et responsable de l'attention portée à autrui, basé sur la générosité.Tous ces dispositifs d'attention, ces récits de vie doivent s’inscrire dans une « noopolitique » de la santé publique aussi bien physique que mentale. Il s'agit de prendre garde « aux déficits attentionnels et aux troubles intergénérationnels ». Un « psychopouvoir » devrait être mis en place par nos gouvernements au service « d'une politique industrielle des technologies de l'esprit ». / What predisposes Portugal, Brazil, Quebec, and Indiana in the USA, to set up institutional sites of “life stories” on supports (media) videos (like virtual museums), unlike in France, where such initiative remains private life? We will try to focus on the strength of life stories, and we will try to understand why countries chose to podcast them. Actually, do they use life stories in order to hand over to the rising generation, and to make them more visible and audible, so that life stories are passing on and leave prints forever (to let posterity)? Besides, what is the content of these prints, and what do they occur to the generations? Also, what about the interaction between them? In fact, we will try to podcast and study semiotic, semantic and semiological prints of life stories that we can find on the following websites, called “Museum of the person" which is suitable for the four countries that we have previously mentioned. It seems that life stories prints found in digital and audiovisual media, are like a material building, as real as a museum in a given and real place. Moreover, we have to say that a life story is like a "permanent movement between the past and the present” that influences the present dialogue. We are facing with such new standards, especially with successive paradigms or paradoxical movements of recontextualization and symbolic reconfiguration, every time that a life story is told from a citizen to another. Life stories and memory passing down generation to generation, are very common to English and Australian people. It truly seems that life stories prints are part of a social link between all the generations, and also between national and non-national citizens. This important social link takes part of aspecific care/ attention to memories and their responsibility that are shared between ascendants and descendants. This care program is called "neguentropy". It is an ethical and responsible program based of the attention to others, and generosity. All this plan of actions, relying on the attention of life stories, should be part of a”physical and mental public noopolitic health program”. The aim is to face attention deficit disorder and intergenerational discord. Finally, a "psychopower" should be set up by our governments in order to serve an “industrial policy of spirit mind technology”.