FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Neste trabalho, pretendemos examinar um conjunto de dez canÃÃes (melodia e letra) do chamado Pessoal do CearÃ, grupo de cancionistas cearenses que migraram para o centro-sul do paÃs, no princÃpio da dÃcada de 1970. Temos como escopo averiguar se emerge da anÃlise uma imagem-fim de um enunciador geral que perpasse os textos selecionados, dando identidade ao percurso do grupo e justificando a designaÃÃo referida, cujas razÃes sÃo objeto de muita controvÃrsia. Para isto, optamos pela abordagem da SemiÃtica do Discurso, por ela operar com a noÃÃo de discurso em ato, pela qual a constituiÃÃo do sujeito-enunciador de cada texto-discurso pode ser acompanhada em seu devir, isto Ã, num fazendo-se ininterrupto mediante o prÃprio ato enunciativo. Outros dois conceitos-chave da abordagem teÃrica selecionada, que favorecem esta apreensÃo dinÃmica do ato de enunciar e do sujeito que enuncia, sÃo os de prÃxis e de instÃncia enunciativas, que repropÃem as relaÃÃes entre texto e contexto sÃcio-histÃrico, dando a elas uma feiÃÃo dialÃtica, em termos de modos de existÃncia semiÃtica. Nesta perspectiva teÃrica, averiguamos se o percurso do sujeito Pessoal do Cearà faz sentido, ou seja, se hà uma coerÃncia narrativa unindo as diferentes fases do percurso e os seus sujeitos-enunciadores. Feito isto, concluÃmos pela pertinÃncia ou impertinÃncia da designaÃÃo. Para a anÃlise da canÃÃo como objeto semiÃtico sincrÃtico fundado na relaÃÃo basilar melodia-letra, lanÃamos mÃo da teoria semiÃtica da canÃÃo, elaborada pelo semioticista-mÃsico Luiz Tatit. Este teÃrico chega a um conjunto de categorias passÃveis de aplicaÃÃo tanto no exame do plano de expressÃo quanto no do plano do conteÃdo, como preconizava Hjelmslev. Sob esta Ãtica, foi possÃvel descrever as imbricaÃÃes entre as dimensÃes lingÃÃstica e musical, tÃpicas da canÃÃo, que concorrem para a construÃÃo de um efeito de sentido Ãnico, perdido toda vez que se opera a fissÃo entre melodia e letra para se estudar apenas uma delas. / In this work, we intend to examine a set of ten songs (melody and lyrics) of Pessoal do CearÃ, a group of songwriters from Cearà who migrated to the Central and Southestern part of Brazil, in the beginning of the 1970âs. Our purpose is to investigate if a general enunciator image emerges from the analysis of the selected texts. Besides, if this image supplies and identity to the route of the group and justifies the referred designation, which has had a lot of controversy. For this purpose, we choose the Semiotics of the Discourse approach, since it deals with the discourse in act notion, through which the enunciator-subject of each text or discourse may be followed along its becoming, that is, it appears continuously in the enunciative act itself. Two other key-words of the selected theoretical approach which favor this dynamic apprehension of the enunciative act and the subject who enunciates consist of enunciative praxis and enunciative instance. These concepts suggest a new relationship between text and social historical context and give them a dialectical feature in regard to the ways of semiotic existence. In this theoretical perspective, we investigate if the route of âPessoal do CearÃâ makes sense, that is, if there is a narrative coherence that joins the different phases of the route and their enunciative subjects. Afterwards, we conclude if the designation is relevant or not. In order to analyse the song as a syncretic semiotic object based on the fundamental relationship between melody and lyrics, we use the semiotic song theory, that was worked out by the semiotician and musician Luiz Tatit. He suggests a set of categories which not only can be applied in the expression level but also in the content level, such as Hjelmslev conceived. From this point of view, it was possible to describe the imbrications between linguistic and musical dimensions which are typical to the song. Also, this partnership helps the construction of a unique meaning effect, that is lost every time that melody and lyrics are set apart to study only one of them.

The thesis deals with the theory of simulation and simulacra by French representative of postmodernism Jean Baudrillard. It focuses on way how Baudrillard thematises gradual extinction of signs connected with their representational function and the emergence of hyperreality which contains simulation. The attention is also focused on concept of reality, virtuality, simulation and illusion. The thesis includes Paul Virilio's thoughts and also Manuel Castells'. The basic framework of research is completed by a theory of fictional worlds. The second part of thesis includes an analysis of how this issue is reflected in present film production via analysis of content of the films The Matrix (Wachowski, 1999) and Mulholland Drive (Lynch, 2001). The analysis reflects different interpretation of illusive/virtual space and its relation to reality. The aim of thesis is to analyse the selected concepts which describe an emergence and interaction of simulation focusing on contemporary society which is connected with modern technology and also to point at reflection of conceptions mentioned in the films. The goal of thesis is also to explore the films, compare them and show the way how they contain the theme of reality, simulation and illusion and how much is the content of these films connected with the action...

The book Postproduction: Culture as Screenplay, written by French aesthetician Nicolas Bourriaud is going to be initial text for my diploma thesis. Bourriaud claims, that contemporary art is mostly made by the principle of assemblage; art works are made by reinterpretation, reproducing or by new exhibiting of artefacts or forms of past. The assumption of the original concept in artworks of contemporary artists - semionauts (travelers in the worlds of signs) has been allready completely ineffective. Through the example of hyperrealistic paintings, which has lately reappeared in portfolios of international and czech artists, I will try to show whether its revilal is based on the emergence of new medias, that even more than in the seventies simulate reality or whether they deal with the concept of postpostprodution - the artists lend only formal, in this case, hyperrealistic, signs. This diploma thesis will be completed by the case study of paintings of czech hyperrealist painter Jan Mikulka.

This dissertation focuses on the problematic of the use of specific virtual representational methods and their influence on the construction of the new visuality. The aim of this dissertation is to show how computer simulations and visualizations used in medical imaging change the way of our apprehension of the world. Nowadays, within academic circles we witness both optimistic and sceptic theories concerning the effects of integration of computer technology and human apprehension. In this work we would like to answer the question about the type of knowledge we gain through virtual visualizations and we would like to prove that virtual simulations don't necessarily have to be a threat but, on the contrary, by developing visual imagination they can support new, creative apprehension of reality. Key words Linear perspective, logic of database, narrative, rhizome, scopic regime, simulation, simulacrum, virtuality, vision, visuality, visualization

In his celebrated 2007 novel El mundo, Juan José Millás tells the story of the development of Juanjo, a simulacrum of himself, and describes a series of negative developments that the protagonist faces in his childhood. While much has been written about Millás and the “testimonial realism” of his literary generation, little has been written about the psychological factors that influence his characters. In this paper I analyze Juanjo's development as understood from the gradation of guilt to shame, depression, and later suicidal thoughts. Because Juanjo is not able to find an appropriate mechanism of release for his guilt, he spirals into an ever-increasing psychological distress. Thus, his actions do not become an escape per se from the oppressive forces in Spain; but rather, they are mechanisms of delay caused by the subconscious effects of living under Franco's Spain during the 1950s. Mike Wilson-Reginato's first novel El púgil, published in 2007, mixes intertextual references to music, film, and literature to craft a space for the posthuman identity. The two protagonists of El púgil—Art and his olive-green refrigerator, Hal—combine in a new cyborg-like formation. Unlike the cyborg envisioned by Donna Haraway in “A Cyborg Manifesto,” the mechanical-biological union never takes place at the corporeal level, but their union occurs in a psychological dimension within Art's hallucination. To describe the union of Art and Hal, I use Jacques Lacan's concept of the mirror stage to explain Art's adoption of a perceived superior identity and Jean Baudrillard's study of simulacra to show how this adopted identity is an imagined simulacrum. Thus, the combined image of the two characters creates a cyborg identity that erases the distance between man and machine.

L’omniprésence de l’affichage publicitaire confère à la langue un caractère intrinsèquement social, nonobstant le message linguistique lui-même. Son influence sur la société se construit à travers une double utilisation du langage ; conçu d'une part comme un système traditionnel de signes, et d'autre part comme un ensemble de co(n)textes. Notre approche sémio-linguistique s'occupe de l'intentionnel et de la subjectivité dont dispose le signe totalisant qu’est l’affiche publicitaire. L’objet de l’analyse étant les campagnes dites sociales, notre étude situe les discours dans leurs sémiosphères respectives. Enfin, le sujet ainsi présenté étant aussi vaste, nos intérêts se limitent à un seul aspect du processus de communication : le récepteur. Ce dernier s’avère hétérogène, puisqu’il il ne s’agit jamais d’une seule personne. La virtualité qui en relève nous conduit, d’un côté, à ne plus parler du récepteur, mais du simulacre de récepteur ; et de l’autre, à reconsidérer les notions de signification et de sens. La question englobant tous les concepts évoqués est : qu’en est-il de l’interprétant et de l’interprétation ? C’est en ces deux notions que le contexte et le récepteur se croisent. Or, toute interprétation d’une affiche publicitaire est acceptable du côté de la réception des messages, à condition qu’elle relève à la fois de la dénotation, du contexte et de l’expérience personnelle. S’agissant de simulacres d’émetteur et de récepteur, il nous est impossible de fermer le cercle de sémiose en retrouvant le même interprétant des deux côtés. Néanmoins, pour que l’interprétation soit acceptable, il convient simplement de clore ledit cercle. / Omnipresence of promotional posters contributes to the incontestably social linguistic character conceived in the mere linguistic message. His impact on the society starts with double use of language: language as a part of traditional system of signs, and language as an unity of co(n)texts. Furthermore, this semio-linguistic approach deals with intentionality and subjectivity without which the sign «totalisant» - the poster – cannot exist. As the objects of the analysis are so-called social campaigns, our research considers the context lacto sensu and thereby situates the discourses in theirs semio-spheres. A subject as complex as this one has to be limited. In our case, the analysis of the communication process is relevant to the addressee. He is by definition heterogeneous, for he never represents one person only. Potentiality which is the consequence of such a concept force us, on the one hand, not to discuss the addressee, but the his simulacra; and, on the other, to reconsider the notions of meaning and sense. The final question embraces all the concepts mentioned earlier: what about the interpretant and the interpretation? These two notions imply context and addressee. In other words, every interpretation of any promotional poster is acceptable for the addressee, if, and only if the interpretation relies on the denotation, context and personal experience at the same time. As the actors are simulacra of addresser and of addressee, it is no more possible to close the semiosis circle by finding exclusively the same interpretant at both ends of the communication process. For the interpretation to be succeeded, it is enough to close it with any interpreter at all. / Sveprisutnost reklamnoga plakata pridonosi jezičnome neosporivo nasilnom karakteru začetom već u samoj jezičnoj poruci. Njegov utjecaj na društvo počiva na dvostrukom korištenju jezika; jeziku kao dijelu tradicionalnoga sustava znakova i kao cjelini vizualnog objekta. Disertacija analizira plakat semiološkim i donekle sociološkim pristupom, kako bi pokazala da marketing koristi znak kao sredstvo društvene manipulacije. Nadalje, bavi se semiološkim teorijama analizirajući intencionalnost i subjektivnost kanalizirane kroz jezik. Promatrajući značenje i smisao plakata, disertacija razrađuje treći stupanj uspješne interpretacije: osobno značenje u kojem se svijet znakova razdvaja od realnosti te vrijednosti medija ostaju izražene distorzijom koja daje efekt iznenađenja. Uspjeh procesa semioze je definiran tako uzimajući u obzir i pošiljatelja i primatelja poruke: ako ne možemo odrediti interpretanta, semioza ne postoji. Ipak, ako je zaista potrebno zatvoriti komunikacijski krug, kako onda tretirati igre riječima ili krive interpretacije koje po definiciji podrazumijevaju interpretanta i to onoga koji nam je nepoznat? Ovaj nas je predmet doveo do kraja istraživanja u kojemu supostoje nesigurnost prave emisije i recepcije poruke: odnosno, do jezične manipulacije. Cilj disertacije je pokazati da je, sa strane primatelja poruke, svaka moguća interpretacija reklamnoga plakata prihvatljiva.

Made available in DSpace on 2016-04-26T18:16:33Z (GMT). No. of bitstreams: 1 Maria Adelia Ziolli Yassuda.pdf: 5304744 bytes, checksum: 5460934cb92414d6b983d876cb22b413 (MD5) Previous issue date: 2007-10-24 / This study investigates the construction in the ways of presence of Jorge Kajuru in his performance as presenter of a sports reporter for television. Our corpus was delimited in last the two months of propagation of the program Esporte Total, under the command of Jorge Kajuru, period that understands the months of April and May of 2004, and still integrates the corpus others media texts randomly select. The problematic of the object was based in the Semiotics developed around Algirdas Julien Greimas, in special, his narrative grammar and the discursive level, of which the figurative and enunciative mechanisms are explored. Jorge Kajuru obtains to assume in the variation of his performance a transitory existence semiotics between the categories that one that is included and that one that is including. He explores a universe cultural of subjects and figures of the sphere of the privacy from which he serves himself to give sustentation the interactive relation with the interested Brazilian viewer in the sports, more necessarily, in the soccer, thematic central office of its program. In his approach, Jorge Kajuru creates links between situations that the ethics of the daily one in general propagate in his Esporte Total and, from which infers the scienter of the presenter for the establishment of an adhesion contract that creates effect of sensible of secular concurrence in relation to the moment of reception of the program. Our hypothesis is that Jorge Kajuru constructs himself with a way of being himself from the rearrangement of the paper of narrator in first person, assuming himself in the majority of the times as interlocutor who dialogues directly, as if in a body the body with the interlocutee. In this case, the hearing, that is installed in interlocution act to produce effect of uncurling of a colloquy of abetters between Kajuru and the viewer, who divides of the same ethical values and social behavior. The figure of the presenter can be taken as well as the one of a subject that if constructs as declared and emerges in the articulation with a "individuated identity" by means of the considered effect of interaction in the ways as it says what he says / Este estudo investiga a construção dos modos de presença de Jorge Kajuru em sua atuação como apresentador de um noticiário esportivo televisivo. Nosso corpus foi delimitado nos últimos dois meses de veiculação do programa Esporte Total, sob o comando de Jorge Kajuru, período que compreende os meses de abril e maio de 2004, e ainda integram o corpus outros textos midiáticos, selecionados aleatoriamente. Nossa problematização do objeto ancorou-se na Semiótica desenvolvida em torno de Algirdas Julien Greimas, em especial, na sua gramática narrativa e no nível discursivo, do qual são explorados os mecanismos figurativos e enunciativos. Jorge Kajuru consegue assumir na variação da sua atuação uma existência semiótica transitória entre as categorias englobado e englobante. Ele explora um universo cultural de temas e figuras da esfera da intimidade a partir dos quais ele se serve para alicerçar a relação interativa com o telespectador brasileiro interessado nos esportes, mais precisamente, no futebol, temática central do seu programa. Na sua abordagem Jorge Kajuru cria elos entre situações que veicula em seu Esporte Total e a ética do cotidiano em geral, a partir dos quais depreende-se a intencionalidade do apresentador para o estabelecimento de um contrato de adesão que cria efeitos de sentido de concomitância temporal em relação ao momento de recepção do programa. Nossa hipótese é que Jorge Kajuru se constrói com um modo de ser ele mesmo a partir do rearranjo do papel de narrador em primeira pessoa, assumindo-se na maioria das vezes como interlocutor que dialoga diretamente, como se num corpo a corpo, com o interlocutário, no caso, a audiência, que é instalada em ato interlocucionário para produzir efeitos do desenrolar de uma conversa de cúmplices entre Kajuru e o telespectador, que partilham dos mesmos valores éticos e de conduta social. A figura do apresentador pode ser tomada assim como a de um sujeito que se constrói como enunciado e emerge na enunciação com uma identidade individuada por meio dos efeitos de interação propostos nos modos como ele diz o que diz

Made available in DSpace on 2016-12-23T14:01:48Z (GMT). No. of bitstreams: 1 Juliana Contti Castro - elementos pre-textuais.pdf: 422846 bytes, checksum: 8bc10f100e885d019b5a6ce81eb75643 (MD5) Previous issue date: 2013-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work examines the construction of the pedagogic discourse in the Nova Escola (New School) magazine, the discoursive procedures utilized in this construction, and the framework of values in which these discourses insert themselves. Thus this work takes as the principle corpus of analysis the periods 1997-1998 and 2011-2012. Emphasizing the analysis of the magazine s editorials, covers and advertisements, this work investigates the effects of meaning that these texts produce based on its discoursive construction. For the description and analysis of the verbal-visual texts, it refers to the French semiotic and its model of analysis of the signification proposed by A. J. Greimas, together with the visual semiotic, with the contributions of J. M. Floch. Its objectives are to design a landscape about the emergence of the magazines and their similarity to the newspaper; to localize the emergence of the Brazilian pedagogic publications; to investigate the emergence and consolidation of the Editora Abril as an expressive communication company; to examine the creation of the Victor Civita Foundation and, lastly, to investigate the teacher simulacrum reiterated and strengthened by the discourse of Nova Escola (New School). The analysis points to the reinforcement of a simulacrum that sees education, specially the first two years, as vocation and mission, stressing the instrumental dimension at the expense of the conceptual. The gender questions are also important; above all by the fact of the woman-teacher simulacrum be continuously reiterated in the discourse of the refered media. In terms of discoursive procedures, the play between objectivity and subjectivity, reinforces the scientific discourse as well as the relation of approximation that the magazine establishes with its readers. Thus, this work verifies the absence of any lexeme that treats the associative and sindical questions related to the teaching profession. The reiteration of the red, in what refers to the visual aspects, and the passionate feature of the texts highlights the verbal-visual discourse of Nova Escola, intrinsically connected to the reinforcement of the love-dedication-education relation / Este trabalho examina a construção do discurso pedagógico na revista Nova Escola, os procedimentos discursivos utilizados nessa construção, e o quadro de valores no qual esses discursos se inserem. Para tanto, toma como corpus principal de análise as edições do quadriênio 1997-1998 e 2011-2012. Com ênfase para a análise dos editoriais, das capas e das publicidades veiculadas por Nova Escola, investiga os efeitos de sentido que esses textos produzem a partir de sua construção discursiva. Utiliza a semiótica francesa e o seu modelo de análise da significação proposto por A. J. Greimas, juntamente com a semiótica visual, com as contribuições de J.-M. Floch, para descrição e análise dos textos verbo-visuais. Objetiva, ainda, traçar um panorama do surgimento das revistas e sua similaridade com o gênero jornal; localizar o surgimento das publicações pedagógicas brasileiras; investigar o surgimento e a consolidação da Editora Abril como expressiva empresa de comunicação; examinar a criação da Fundação Victor Civita e, por fim, investigar o simulacro de professor reiterado e fortalecido pelo discurso de Nova Escola. A análise realizada indica o reforço a um simulacro que vê a docência, principalmente a dos anos iniciais de escolaridade, como vocação e missão, sobrelevando a dimensão instrumental em detrimento da conceitual. As questões de gênero também são importantes, sobretudo pelo fato do simulacro da mulher-professora ser reiterado continuamente no discurso da mídia em questão. Em termos de procedimentos discursivos, o jogo entre objetividade e subjetividade, reforça tanto o discurso científico, quanto a relação de aproximação que a revista instaura com o seu leitor. Verifica-se, pois, a ausência de qualquer lexema que trate das questões associativas e sindicais tendo em vista a profissão docente. A reiteração do vermelho, no que se refere aos aspectos plásticos, e da feição passional dos textos dão a tônica do discurso verbo-visual de Nova Escola, intrinsecamente ligado ao reforço da relação amor-dedicação-educação

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / La prévisualisation cinématographique, c’est-à-dire la mise en forme visuelle du scénario visant à préciser le film à venir, constitue une pratique dont les origines remontent aux débuts du cinéma. À travers le prisme ludique, notre thèse propose que la récente transition des outils traditionnels de prévisualisation vers des dispositifs numériques apparentés aux technologies vidéoludiques transforme cette préparation visuelle en l’apparentant sur plusieurs points à un jeu, voire à un jouet. Nos recherches portent sur la démarche créative du réalisateur, et comment l’exercice de son imagination mène à la fabrication d’un simulacre du film par le biais d’une dynamique itérative et de différents supports propres à représenter l’œuvre envisagée. Cette démarche est étudiée principalement dans le cadre de longs métrages impliquant une part substantielle d’effets visuels, un corpus particulièrement susceptible d’impliquer des stratégies élaborées de préparation logistique ou créative. À la suite d’un résumé historique impliquant une typologie des formes de prévisualisation et l’identification de variables propices à orienter les analyses subséquentes, notre thèse présente les notions d’imagination et d’attitude ludique, et précise comment ces ancrages théoriques sont utilisés pour mieux définir les aspects de la conception du film qui s’apparente au jeu. Par la suite, et au moyen d’une étude de cas impliquant un jeu vidéo remédié en un outil de machinima, elle détaille l’élaboration de la double figure dite « jeu de construction/jouet à construire » propre à représenter la nature et la dynamique de la prévisualisation selon un point de vue ludique. Nos recherches examinent ensuite les différents contextes de la production cinématographique quant à leur pertinence à l’exercice de la préparation visuelle par le réalisateur, tout en déterminant les aspects de la fabrication du film qui échappent à une telle mise en forme, lorsque réalisée au moyen des dispositifs conventionnels. À la lumière de cet examen, notre thèse propose l’émergence d’un nouvel espace de jeu, déployé transversalement à la chaine de production traditionnelle, et susceptible de favoriser la pratique d’une prévisualisation d’inspiration ludique qui répond de manière satisfaisante aux principales lacunes préalablement relevées. / Film previsualization (or previs), that is to say the visual formatting of the scenario aimed at anticipating the film to come, constitutes a practice whose origins date back to early cinema. According to a lusory perspective, our thesis proposes that the recent transition from traditional previs tools to digital devices involving videogame technologies transforms visual preparation by making it more similar to a game, or eventually to a toy. Our thesis focuses on the creative approach of the director, more specifically the process of imagination and how it leads to the design of a simulacrum of the film through an iterative method while using a variety of media fit to represent the intended work. This approach takes place mainly in the context of feature films involving a substantial part of visual effects, a corpus particularly likely to involve elaborate strategies relating to logistical or creative preparation. Following a historical background, a typology of the main forms of previsualization and the identification of variables suited to guide subsequent analysis, both notions of imagination and lusory attitude are studied in order to better define the aspects of film creation that relate to play and game. Afterwards, our thesis details the twin figure of the “construction game” and the “toy to build” representing the nature and dynamics of previsualization from a lusory perspective. This will be achieved by means of a case study involving a videogame remedied as a machinima tool. Our thesis then examines the different contexts of film production as to their relevance to previsualization practices performed by the director, while exposing the aspects of filmmaking that elude such practices when carried out by means of traditional devices. In the light of this examination, our thesis suggests the emergence of a new context of play, deployed transversally to the traditional production chain, and likely to favor the practice of a lusory-inspired previsualization that addresses in a successful way some of the shortcomings previously listed.

The medium is the message in the first place: the medium as presence, as the author. His contribution to the academic world is his academic Holographic Memoirs. His story, the author's memoirs, is a fictive-narrative discourse with an organic ubuntu open-endedness. The Hologram is both an autobiography, but also all the information at all places simultaneously – nonlocal in quantum physical terms - within an intense hallucinating dream: no illusion, but rather a HyperReality with all its Virtual Identities. The invention of tram hopping is the plot of the story. The plot is like an hourglass where the first part of the story is the emptying of the sand, the deconstruction of modernism, but while the top chamber runs empty and the bottom chamber fills up, so the deconstruction is simultaneously a dependent arising/(social) construction/ubuntuing to revival – the synagogal Shekinah presence of YAHWEH. The top chamber is the unreasonable Newtonian physics and the bottom chamber reasonable quantum physics. The metaphysics (before the physics) of the top chamber is poststructuralism and deconstruction, while the bottom chamber is the virtual Hebraic worldview that delutively merges ubuntu and Buddhism. The long narrow neck in the middle is the moonily narrative that lives us with psychology (Psycho-logic) lost in sociology (Social-physics). Hermeneutics is set forth in the same contrasting hourglass of the top chamber, the inherited tradition, emptying to what it should accomplish – (virtual) presence. / Philosophy & Systematic Theology / D. Th. (Systematic Theology)