本研究旨在探究世貿展場中以showgirl為促銷策略的運作方式與細節，試圖解讀隱藏於showgirl現象背後的意識形態結構，從而對以性訴求為主要說服策略的商業與消費行為提出批判。 本文回顧歷年相關報導與研究發現，showgirl逐漸從過往單純的產品解說員變成訴求性感、分飾多角的3C展場焦點，乃隨廠商需求、消費習性與社會文化而變遷。而雖然性訴求策略仍難斷言其效果，訴求性感的showgirl活動仍被3C廠商普遍採用，並且呈現出刻板單一的性感女性形象。 為了深入剖析展場showgirl活動，本研究援用Saussure提出的毗鄰軸/系譜軸分析法，以及Barthes的意識形態分析，針對所收集之五個個案中十七個足以代表3C展場showgirl活動樣貌的事件，進行深入的解讀。研究發現，3C展場活動的敘事符號結構，重點其實就是以穿著暴露的showgirl來貫串整個敘事脈絡，一切的目的在以性感、性化、提供性想像的showgirl作為酬庸，換取男性消費者的駐足參與，從而將showgirl物化為感官消費的商品，以順利達成廠商的銷售目標。 據此，本研究對3C展場showgirl活動提出兩項批評：（一）廠商在缺乏仔細思考下挪用性訴求說服策略於3C展場，反而將真正重要的產品利益與消費者需求邊緣化；（二）以男性消費者為目標的性訴求策略，枉顧女性消費者權益，也枉顧不關注showgirl活動的男性消費者，並將所有男性視為同質性的群體，如此偏狹的性別認知及其所造成的消費者歧視，無論對兩性與社會，都是深刻的傷害。 / This research aims to explore the function and details of “showgirls as a marketing strategy” in Taipei World Trade Center. The goal is to interpret the ideology structure hidden behind the showgirl phenomena, and to criticize adopting “sex appeal” as a persuasion strategy of consumption. Relating news reports and researches point out that the role of showgirls alters from simple product narrator to eye-catching sexy babe in 3C mall, which results from the demand of suppliers, consumption habits and social culture. Though the effect of sex appeal has not been proved yet, sexy showgirl activities still prevail, while the showgirls are molded into the stereotype of sexy female image. In order to interpret the showgirl activities in World Trade Center, Saussure’s syntagm and paradigm and Barthes’ ideology analysis are applied to seventeen cases out of five core events that can sketch the showgirl incidents. The research indicates that the whole point of the 3C mall narrative structure is the half-naked showgirls, and the purpose is to present these sexy, sexual and sexually-imaginative showgirls as rewards for male consumers’ attention and gaze. Showgirls are so objectified as products of sensuous consumption to achieve the sales-volume goal. Therefore, the research offers two criticisms regarding the showgirl activities in 3C malls: 1. the suppliers adopt sex appeal persuasion strategy without thorough consideration, which results in the marginalization of product benefits and consumer needs. 2. Aiming at the male consumers, the sex appeal strategy disregards the interactions of female consumers and also those male consumers who are not attracted by showgirls. Neglecting the variation of male consumers, such a narrow gender definition and the discrimination towards consumers does a serious damage to both sexes and the society.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire de maîtrise examine les processus d’intertextualité liés à la représentation de la femme dans la culture musicale folk ou soft rock et examine les mécanismes par lesquels ils sont récupérés par les tenants du suprémacisme blanc. Le mémoire se consacre exclusivement à l’analyse d’une ballade folk pour voix et piano: Tomorrow Belongs To Me, telle qu’enregistrée par la chansonnière suédoise raciste Saga. Cet arrangement d’un extraitde la trame sonore du film Cabaret soulève la problématique de l’apparition des femmes sur la scène musicale suprémaciste, ainsi que celle de la réception de leur musique par les militants masculins. La recherche montre que le choix esthétique de Saga lui permet concurremment de se complaire aux codes d’un milieu à nette dominance masculine et de les défier, assimilant du coup l’idéologie fasciste à l’expression et à l’expérience de la féminité. Le présent travail est basé dans un premier temps sur l’analyse sémiologique des composantes musicales de l’oeuvre, appuyée à la fois sur la littérature musicologique et sociologique sur le folk et la musique de masse, ainsi que sur des entrevues visant à recueillir chez les sujets des matériaux de comparaisons interobjectives, ceci d’après le modèle de Tagg. L’analyse s’appuie ensuite sur une approche holistique intégrant l’analyse du texte, sa mise en contexte et la compréhension de cette pièce en tant que propagande,cela afin de saisir les nouvelles formes de rhétorique employées dans le créneau musical raciste. / This Master’s thesis examines the intertextuality processes related to female gender representation in the folk and soft rock music culture and examines the mechanisms by which those are hijacked by tenants of white supremacism. The research focuses solely on the analysis of a folk ballad for voice and piano: Tomorrow Belongs To Me, as recorded by Swedish racist songstress Saga. This arrangement of an excerpt from the movie soundtrack Cabaret raises the issue of the emergence of women on the racist musical scene, as well as the issue of the reception of their music by male militants. The thesis shows that Saga’s esthetic allows her to conform herself to the codes of a male-dominated milieu, as well as to defy them simultaneously, thus allowing her to assimilate a fascist ideology to the expression and experience of womanhood.In its first section, the paper is based upon the semiological analysis of the musical components of the piece, supported by musicological and sociological literature about folk and mass music, as well as by interviews aiming at collecting inter-objective comparison material from the participants, according to Tagg’s model. The analysis is then grounded ona holistic approach, which integrates a text analysis, providing the setting as context in addition to the understanding of that piece as propaganda, with the aim to understand the new forms of rhetoric employed in racist music.

Dans une perspective strictement structurale, cherchant à étendre et généraliser le calque linguistique à la majorité des champs épistémologiques, une nouvelle science –la sémiologie– est née. Considérant les conventions et systèmes langagiers circulant dans la vie sociale des signes, ladite science n’a pas hésité à comparer les systèmes sémiotiques-forme architecturale et paysage de la ville à des structures discursives ou encore des « textes ». L’intégration du système de signes-forme architecturale dans le paysage de la ville se définit conséquemment comme une « dialogie » entre lesdits systèmes sémiotiques, une « intertextualité » s’effectuant sur la base de codes variés, enchevêtrés. En se basant sur les fondements peirciens du signe, nous proposons (selon une méthodologie décompositive desdits systèmes de signes) d’élucider le sens de cette dialogie dans les stratégies contemporaines du « Branding urbain » où ladite « intertextualité » se transforme en « interimagibilité » (ou « intericonicité ») prenant la ville de Toronto et l’extension du musée royal de l’Ontario (ROM) un corpus remarquable manifestant ladite métamorphose. / In a structural perspective, looking to extend the loan translation to the epistemological fields, semiology was born. Considering conventions and linguistic system of the social life as «signs», both architectural form and cityscape were compared to «discursive structures» or «texts». Consequently, the integration of the architectural form in the cityscape will be defined as a «dialogy» based on entangled codes. With the reference to the peircien’s conception of the sign, we suggest, through a decompositive methodology, to find the meaning of this «dialogy» in the actual strategy of «city Branding» where «intertextuality» is being converted «interimagibility» (or «intericonicity») taking the Royal Ontario Museum (ROM) as corpus of this remarquable metamorphosis.

La version intégrale de ce mémoire [ou de cette thèse] est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU) / Instants et espaces investis par la musique, les sessions sont actuellement en Irlande un marqueur d’expression culturelle. En surface, celles-ci peuvent être définies en tant que regroupement prévu ou spontané de plusieurs musiciens dans le but de faire de la musique et de passer un agréable moment en communauté. Toutefois, un travail d'enquête réparti sur sept années de recherches dans le nord-ouest irlandais a révélé qu'en profondeur, les sessions représentent un phénomène socioculturel complexe, phénomène social autant que musical, fait musical autant que social, édifice symbolique mixte tissé d'interactions dont la combinatoire à chaque fois renouvelée implique un jeu de relations entre le facteur individuel et les stratégies collectives qui, radicalement, affectent l’ensemble de la structure de l’événement. Comprendre le fonctionnement d'une session revient alors à poser un certain nombre de questions ayant pour finalité de révéler la manière dont les deux pôles du social et du musical se trouvent, en même temps que distincts, inextricablement liés. Les sessions musicales se révèlent ainsi sources d'un certain nombre de problèmes, lesquels, a priori motivés par une connaissance spécifique à notre objet d'étude, conduisent à dépasser le domaine exclusif de l'Irlande pour venir affronter les questionnements plus larges que pose l'ethnomusicologie contemporaine. La présente thèse s'organise en cinq chapitres. Un premier est consacré à une description générale des sessions. L'attention est portée sur les liens dynamiques opérant entre ce qui relève du musical et ce qui procède d'un ordre plus spécifiquement social. Les questions alors soulevées engagent un second chapitre, dont l'organisation est bipartite. Y sont alors exposés, dans un premier temps, les grands axes problématiques sur lesquels cette thèse repose, et dans un second, les réponses méthodologiques impliquées par cette même problématique. Un troisième chapitre consiste à mettre en place l'ensemble des outils nécessaires à la conduite des analyses, à travers une réflexion portant sur les propriétés systématiques de l'ensemble des paramètres sociaux et musicaux caractéristiques de ce que sera notre corpus. L'étape suivante, quatrième chapitre de la thèse, se fonde sur les analyses comparatives d'un corpus de 26 pièces musicales, collectées dans le cadre de 7 situations de sessions distinctes. À travers un cinquième chapitre, le travail se termine enfin par une synthèse fondée sur l'intégralité des résultats analytiques obtenus dans le chapitre précédent. / As periods of time and spatial entities invested by music, sessions in Ireland nowadays are a marker of cultural expression. Superficially, those can be defined as a gathering, planned or spontaneous, of several musicians with the prospect to produce music and to share a nice moment together. Yet, a survey pursued over a seven-year research work in north-western Ireland revealed that, in depth, sessions represent complex socio-cultural events, social as much as musical, musical as well as social happening, symbolic entity enriched by interactions whose permanently renewed combination reflects the interplay between individual factors and group strategies, that, radically, affect the whole structure of the event. To understand how a session functions then requires raising a number of questions whose end is to elucidate how the two poles, social and musical, happen to be inextricably linked, though distinct at the same time. Musical sessions thus become a source of problems which, a priori connected to the amount of knowledge specific of our topic, lead to overcome the exclusive domain of Ireland up to facing the broader issues of contemporary ethnomusicology. The present thesis includes five chapters. The first one is a general description of sessions. Attention is paid to the dynamic links operating between what belongs to music and what proceeds from a line more specifically social. Questions then raised trigger a second chapter, whose content is bipartite. First are exposed the major problems on which the thesis rests, and secondly the methodological answers related to the given problematic. A third chapter consists of setting the spectrum of methods required to conduct analyses, through a reflexion bearing on the system properties of the whole range of social and musical parameters that characterize this work. Next step, the fourth chapter is based on the comparative analysis of 26 musical pieces that were collected in the context of seven different situations in distinct sessions. In the fifth chapter, the thesis ends with a synthesis of all analytical results as gathered in the previous chapters.

Notre étude prend l’allure d’un discours argumentatif sur les questions de sens et de signification en musique. Elle s’interroge dans une première partie sur le sens en général et sur la visée musicologique du sens : y a-t-il une réalité ontologique du sens ? Le sens est-il objet, qualité, propriété, état de choses, visée intentionnelle de la chose, etc.Dans une seconde partie, nous engageons une discussion sur la signification musicale et sur le rapport signification/sens en musique. Elle réactive de nombreuses problématiques de la musicologie : l’épineuse question du signe musical, la communication musicale, le langage musical, le rapport son musical/langage verbal — rapport essentiel, eu égard à l’inféodation de l’homme et de sa pensée au langage verbal. Dans une troisième partie, nous envisagerons le sens sous l’angle d’une trilogie, articulant les trois acceptions courantes du sens : la signification, la sensation et la direction. Nous y expliquons notamment ce que l’on peut entendre par « direction » ou « orientation » en musique. Cette partie décrit le processus sémiotique du son musical, et explique, à travers ce processus, la téléologie de la musique : quelle est sa finalité ? Quelle est sa raison d’être ? Quelle est sa fonction dans l’humanité ? Notre étude utilise la philosophie du sens et les théories du langage pour tenter, humblement, d’expliquer la scandaleuse disproportion entre la puissance à dire de la musique et l’inévidence foncière de ce qu’elle dit , disproportion en laquelle réside selon nous tout son mystère. / Our study takes the form of an argumentative speech about the matters of sense and meaning in music. The study will firstly ponder about the Meaning in general and the musicological aim of the sense: Is there an ontological reality to the sense? Is the meaning an object, a quality, a property, a state of object; is it an intentional aim of the object, etc ?In a second part, we do launch a discussion about the musical meaning and about the sense/meaning relation in music. It restarts several musicology issues: the delicate question of the musical sign, musical communication, musical language, musical/verbal language relation –a crucial relationship, with regard to the indentureship of the human and his mind to the verbal language. In a third section, we will consider the sense as a trilogy which structures the three current senses of the word: meaning, feeling and direction. We will especially explain what can be implied by “direction” or “orientation” in music. This part describes the semiotics process of the musical sound, and explain through this process the teleology of music: What is its ambition? What is its reason of being? What is its function in humanity? Our study uses the philosophy of the sense and the language theories to make an, humble, attempt to explain the outrageous disproportion between music’s power of saying and basic non obviousness of it says, disproportion in which lies, according to us, all its mystery.

Encadré par la théorie et la méthodologie de la sémiologie des indices proposée par Anne-Marie Houdebine, ce travail analyse les relations homme/femme, sous le coup de la censure, dans le cinéma iranien postrévolutionnaire. L’analyse systémique permet de dégager d’abord les strates iconique, scénique, sonore et technique à l’intérieur du corpus des scènes de films. Ensuite, il met en évidence des éléments explicités qui montrent qu’au plan formel existe un certain nombre de récurrences dans toutes les scènes analysées quel que soit le film travaillé. Au plan de l’expression, une grammaire formelle de la relation homme/femme dans le cinéma iranien a été dégagée. Au plan du contenu, des illusions de proximité et de rapprochement, des déclarations d’amour, des propositions sexuelles, de l’érotisme ainsi que des relations amoureuses et sexuelles surgissent à travers différentes configurations syntagmatiques des indices tels que le regard, le geste avorté, la scène de retour, l’enfant, l’objet symbolique, l’extérieur, l’intérieur, la voiture, la cour, le hors champ, la transition et la musique. En construisant son espace comme l’architecture iranienne traditionnelle entre l’externe (espace réservé aux invités et aux étrangers à la famille) et l’interne (espace privé) mais également en s’emparant des figures de styles à l’instar de la poésie iranienne classique, le cinéma iranien parle pudiquement de l’amour et créé ainsi sa propre iranité concernant les relations homme/femme. / Using Anne-Marie Houdebine’s theory and methodology of semiology of indices, this work analyses the relationships between man and woman in the censured post-revolution Iranian cinema. The systemic analysis highlights the iconic, scenic, auditory and technical stratums within the movie scenes. It also shows explicit elements, which reveals the existence of a certain amount of repetitions on a formal scale in any analyzed film. We can see there is a formal grammar respected when it comes to the expression of man and woman relationships in Iranian cinema. Illusions of closeness, love declarations, sexual propositions, erotism, love and sexual relationships are suggested through various phrasal configurations of the indices, such as glances, abortive gestures, turn around scenes, images of the child, symbolic objects, outside and inside, car, courtyard, off screens, direct transitions and music. Iranian cinema chastely explores love, expressing its own Iranianity regarding relationships between man and woman, by constructing space in the way that traditional Iranian architecture does (external space for guests and internal for family and privacy), but also by using stylistic devices, as in classical Iranian poetry.

Proposant une approche méthodologique fondée sur la sémiologie des indices et la sémiotique narrative, notre travail doctoral sous convention CIFRE pour EDF R&D s’attache à comprendre le fonctionnement structural et narratif des représentations du changement climatique dans différentes sphères sociales en France. Partant du caractère scientifique de l’Objet de recherche, l’étude s’intéresse aux discours forgés par les climatologues, la presse de vulgarisation scientifique, trois titres de la presse quotidienne nationale et les discours profanes au travers d’entretiens collectifs, selon une temporalité commune, de novembre 2009 à mars 2010. La « Une » des quotidiens et des magazines de vulgarisation scientifique est alors considérée comme un marqueur social et historique fort, capable de construire les représentations relatives au changement climatique. Le corpus de presse d’information fonde les représentations tant du phénomène climatique que des événements médiatiques qui lui donnent une existence. Le recours à la sémiotique narrative permet une comparaison de corpus de natures différentes, afin de prendre la mesure de la circulation entre les différentes sphères sociales visitées. L’objectif étant une compréhension globale des représentations climatiques, permettant une réflexion sur les mythes dont nos sociétés se nourrissent pour se construire, et sur le possible ré-enchantement de ces mythes. / This doctoral research, conducted through a CIFRE agreement with EDF R&D, aims to understand the structural and narrative organization of climate change representations through four different social spheres in France. First considered as a scientific topic, climate change representations are analysed throughout climate scientists and profane discourses, but also throughout documents such as science popularization magazines and three French newspapers, which of the front pages are considered as a social and historical tracer, particularly during the period running from November 2009 to March 2010. Informative press corpus enables to construct representations of global warming and of the media events that participate to their media life. The use of narrative semiotic methodology allows a comparative study through the different corpuses, in order to spot out the hypothetical circulation of these representations. The eventual aim is a global understanding of climate representations, opening the way for a consideration of the different myths as a basement of our societies, willing to reinvent themselves through new social and cultural myths.

[pt] Partindo-se de uma definição, baseada na media ecology, de role-playing game (RPG) como meio de comunicação dotado de linguagem narrativa, tecnologia impressa e modo de recepção interativo, propõe-se que é possível pensar este jogo como hipermídia narrativa em que seus componentes atuem como links de abertura para outras informações, promovendo uma refiguração criativa da realidade. Propõe-se um método de concepção poética e análise crítica para um objeto de design gráfico, um livro de RPG, em que o conceito de abertura da obra é fundamentado pelos conceitos de gozo do texto, deslizamento sígnico de Roland Barthes e semiose ilimitada de C.S. Peirce, instrumentalizado por meio da tradução intersemiótica de Julio Plaza, da hermenêutica de Paul Ricoeur e da Iconologia de Erwin Panofsky. Espera-se com este método contribuir não apenas com novas possibilidades de se pensar e produzir um livro, mas também com a construção e questionamento de uma epistemologia do Design enquanto área de conhecimento. Tal discussão é realizada em duas instãncias: uma instãncia formal, onde é documentada a concepção do suporte impresso do cenário Brasil Barroco, do RPG experimental Incorporais, desenvolvido em paralelo com o método; e uma instância processual, onde o suporte deste RPG será experimentado por jogadores que participarão da ampliação do cenário através da produção de material que será incorporado aos suportes impressos, verificando-se a capacidade de abertura acima descrita. / [en] From a definition, based upon the media ecology, of role- playing game (RPG) as a media with narrative language, printed technology and an interactive form of reception, it is proposed that this game can be though as a narrative hypermedia with its componentes acting as links to other informations, promoting a creative reality refiguration. A proposition is presented for a method of poetic conception and crytical analysis for an object of graphic design, a RPG book, in in which the concept of text opening is fundamented on the concepts of text enjoyment, Roland Barthes' sign sliding and unlimited semiosis of C.S. Peirce, worked through the intersemiotic translation of Julio Plaza, Paul Ricoeur's hermeneutic and Erwin Panofsky's iconology. It is hoped that this method will contribute not only with new possibilities for book conception and production, but also with the assembling and questioning of an epistemology for the Design as an area of knowledge. This discussion is done in two instances: a formal instance, where the conception of the printed support for the Barroque Brasil setting is documented, for the experimental RPG Incorporals, developed alongside the method; and a processual instance, where the support of this rpg will be experimented by players that will participate in the setting development through the production of materials that will be incorporated in the printed supports, verifying the capacity for the openings described above.

O turismo é uma atividade econômica que cresce em ritmo acelerado desde meados do século XX, para tornar-se uma das principais fontes de emprego e renda em diversos países, muitas vezes em substituição a diversas outras práticas mais tradicionais. Os mapas se inserem no jogo de sedução das imagens concebidas para vender a idéia do lugar turístico. Mas a cartografia também pode dar uma contribuição significativa para o desenvolvimento de um tipo diferenciado de turismo, cuja concepção não se restrinja ao consumo irrefletido dos lugares turísticos. Neste trabalho é apresentada uma proposta metodológica de cartografia turística que visa revelar o lugar, interpretá-lo e, dessa forma, acrescentar valores ao visitante, para lhe garantir a fruição do espaço, isto é, o ato de aproveitá-lo satisfatória e prazerosamente. Como área de estudo foi escolhida a Chapada dos Veadeiros, em Goiás, patrimônio natural da humanidade, onde se desenvolve uma crescente atividade de ecoturismo. Para tanto, essa cartografia turística é idealizada como um meio de comunicação visual cujas bases teóricas são fornecidas pela psicologia Gestalt e pela Semiologia Gráfica, além de subsidiada pela cartografia ambiental, no sentido de elaborar representações gráficas que estimulem a percepção visual dos turistas e auxiliem o processo de interpretação do patrimônio. Assim, tal proposição metodológica exige o conhecimento sistematizado do espaço turístico, dos seus atores sociais e do seu contexto sócio-cultural, visando a criação de uma linguagem acessível. / Tourism is an economic activity that grows at rapid rhythm since the middle of the twentieth century, to become a great source of employment and rent in many countries. The maps are included in the seduction\'s game of designed images to sell the idea of the tourist place. But the cartography can also make a significant contribution to the development of a different type of tourism, whose design is not restricted to thoughtless consumption of tourist spots. In this work is presented a methodological proposition for mapping that pretends to reveal the place, interpret it and thus add value to the visitor, to ensure the enjoyment of the area, i.e. the act of use it pleasurable and satisfactory. As the study area was chosen the Chapada dos Veadeiros in state of Goiás, natural heritage of humanity, which is developing a growing activity of ecotourism. To this end, the tourist cartography, idealized as a means of visual communication, has got as theoretical basis the Gestalt psychology and the Semiology of Graphics. In addition, it must be subsidized by the environmental cartography, to produce graphical representations that stimulate the visual perception of tourists and aid the process of heritage interpretation. This methodological proposition requires the systematic knowledge of tourist place, its social actors and their socio-cultural context, aiming to create an accessible language.

As técnicas de ensino devem ser dinâmicas e, de fato, têm apresentado evolução constante. Mais recentemente, e de maneira bastante agressiva, novos recursos que implementam tecnologia da informação têm sido utilizados no ensino médico. Todavia, a escassez desses recursos e aplicabilidade no ensino da ginecologia é notória. Os objetivos do trabalho ora exposto foram: a) a criação de um aplicativo didático para o ensino da semiologia mamária utilizando recursos computacionais; b) disponibilizá-lo na rede mundial de computadores (Internet); c) mensurar o aprendizado dos alunos os quais interagiram com o aplicativo. O aplicativo desenvolvido foi segmentado em: 1) Anatomia Mamária, 2) Anamnese, 3) Exame Físico e 4) Exames Complementares. Cada tópico foi desenvolvido e apresentado em frames eletrônicos utilizando-se vídeos, imagens (estáticas e dinâmicas), animações e texto baseado na Linguagem de Marcação de Hipertexto (HTML) e linguagem de programação Action Script 2.0, os quais relatam informações acerca dos temas selecionados. Para realizar o teste do aplicativo e avaliar sua potencialidade na educação médica, foram convidados alunos de diferentes instituições de ensino médico. Foram feitos 313 acessos sendo que apenas 95 responderam de forma completa todo o questionário. O tema escolhido foi a semiologia mamária, apresentada de duas formas distintas. Os alunos, de maneira aleatória, poderiam fazer uso da aula expositiva convencional disponibilizada através de vídeo, permitindo a interatividade linear do material, ou, interagir de forma não linear com o aplicativo multimídia. Havia também a possibilidade de acesso a ambas as formas de apresentação do tema, o que foi feito por 34 alunos/usuários. A avaliação foi composta por 20 (vinte) questões, e, paralelamente, foi constituída uma escala Likert cujo objetivo era avaliar a credibilidade do aplicativo. Os resultados mostraram que os alunos/usuários que utilizaram somente a aula expositiva convencional obtiveram desempenho pior quando comparados aos alunos/usuários que utilizaram o aplicativo multimídia, entretanto, de forma oportuna, os alunos/usuários que utilizaram ambos os recursos didáticos, ou seja, aula expositiva convencional e o aplicativo multimídia obtiveram notas superiores quando comparado ao grupo de alunos que utilizou somente o aplicativo multimídia respectivamente (E+M = 17,9; AM = 17,5; AE = 15,4; p < 0,0001). Diante das evidencias apresentadas conclui-se que o aplicativo multimídia desenvolvido favoreceu o aprendizado e a retenção do conhecimento para os alunos, e que, o uso de tecnologias computacionais pode trazer facilitar o aprendizado da semiologia mamária. / The teaching techniques must be dynamic and, in fact, have made constant progress. More recently, and quite aggressive new features that implement information technology have been used in medical education. However, the lack of this feature with respect to its applicability in the teaching of gynecology is significant. The objectives of the current study were: the creation of an application for the teaching of breast semiology using computational resources, make it available on the World Wide Web (Internet) and to measure student learning which interacted with the application. The application was segmented into: 1) Breast Anatomy, 2) Clinical history, 3) Physical Examination and 4) Additional Tests. Each topic was developed and presented in electronic frames using videos, images (static and dynamic), animations and textbased HyperText Markup Language (HTML) and programming language Action Script 2.0, which report information about selected topics. To perform the application and evaluate its potential, students from different institutions of medical education were invited. The program was accessed by 313 individuals and, of these, 95 completed fully the questionnaire and 77 evaluated the application through a Likert scale. The chosen theme was breast semiology , presented in two different manners. The students, at random, could make use of the conventional lecture available on video, or interact with the multimedia application. There was also the possibility of access to both forms of presentation of the theme, which was done by 34 students. The evaluation was composed of 20 (twenty) questions, and, in parallel, was set a Likert scale to evaluate the credibility of the application. The results showed that students who used only conventional lecture (AE) got lower grades than students who used the multimedia application (AM). However, students who used both teaching resources (E+M), ie conventional lecture and multimedia application, obtained higher grades compared to the group of students who used the multimedia application (E+M = 17,9; AM = 17,5; AE = 15,4; p < 0.0001). According to these evidences, it appears that the multimedia application significantly promoted knowledge for some students, and that the use of computer technologies can facilitated the learning of breast semiology.