Dans quelle mesure la bande dessinée peut-elle être un outil approprié dans le processus d’enseignement-apprentissage de l’espagnol comme langue étrangère ? À partir d’un panorama sur la réalité de la bande dessinée dans le cadre de l’enseignement et l’apprentissage des langues, j’ai développé les théories et les concepts nécessaires pour aller plus loin dans l’étude du fonctionnement de la bande dessinée et dans la réflexion sur la langue et sa didactique. J’ai mené une étude approfondie de cinq ouvrages représentatifs autour de la thématique « La bande dessinée et la mémoire iconoverbale du franquisme ». L’application d’une grille d’analyse didactique à partir d’un triple critère, médiagénique, linguistique et culturel a démontré l’intérêt d’une étude globale de la bande dessinée tenant compte de sa spécificité dans le cadre d’un programme de langue et de culture. La richesse éducative de ce médium ouvre la possibilité de rendre complémentaires l’enseignement linguistique et, transversalement, l’éducation artistique, littéraire, historique et culturelle ce qui enrichit indiscutablement le processus d’enseignement-apprentissage de l’espagnol langue étrangère. / To what extent can the comic be an appropriate tool in the learning and teaching process as a result of a holistic study that takes into account the specificity of the medium? Starting from an overview of the reality of the comic in the framework of the teaching and learning of Spanish as a foreign language, the study discusses the necessary theories and notions to deepen into the idea of the comic as an autonomous means of cultural expression and into the reflection on language and language teaching. The study analyses five representative works around a common theme: «The comic and the iconoverbal memory of Francoism». Through the elaboration and application of a data collection protocol which includes the triple dimension – mediagenic, linguistic and cultural the study concludes that, provided its specificity is taken into account and a holistic approach is adopted, this medium constitutes an appropriate resource in the teaching and learning of language and culture. The characteristics of the comic allows to teach and learn linguistic content and simultaneously cover interdisciplinary context related to art, literature, history and culture, which undoubtedly enriches the process of the learning and teaching of Spanish as a foreign language.

Cette thèse traite des rapports noués entre le livre et la photographie en France au cours du dernier tiers du XIXe siècle. Elle dégage les enjeux recouverts par cette association pour les acteurs collaborant à sa réalisation, à la croisée desquels a été progressivement inventé un objet inédit : un livre dont le discours s’élabore à partir de la combinaison de textes et de photographies entre ses plats de couverture au moins, mais aussi sur ses pages si l’envie ou le besoin le commande. Pour cela, elle circonscrit les contours et les tendances de la production moyenne entre 1867 et 1897, en construisant un corpus qui en reflète l’étendue et les ambitions. De type systémique, son analyse démontre que le livre n’a été ni le berceau, ni le foyer, non plus que le vecteur de diffusion principal des images photographiques en France au XIXe siècle. En révélant l’extrême diversité de la production, elle prouve par contre que le livre a constitué un laboratoire d’expérimentations des modalités de l’association des textes et des images photographiques, dans le but de formaliser un discours pour le pérenniser. Par ce biais, les auteurs et les éditeurs ont progressivement défini les spécificités de la photographie dans le champ des moyens disponibles pour l’illustration. Permettant notamment aux imprimeurs-éditeurs de réaffirmer leur position dominante sur un monde de l’édition en mutation, les processus de cette appropriation se distinguent toutefois par la très faible implication de la communauté photographique. Dès lors, cette thèse propose une périodisation des liens des photographes au livre, lorsque celui-ci est utilisé comme un levier dans leurs réclamations statutaires. / This thesis is about the relationship between books and photography in France during the last three decades of the 19th century. It reveals what was at stake in this specific association for the diverse actors involved in its creation. Articulating multiple issues, a new object was gradually invented: the photographically illustrated book, that is a book discursively produced through combining texts and photographic images between its covers, if not on the very pages themselves. To this end, the thesis charts the boundaries and tendencies of the average production of photographically illustrated books between 1867 and 1897, building a corpus that reflects its extent and its ambitions. Through a systemic analysis, it demonstrates that books were neither the breeding grounds nor the main sites nor the main vehicles for the dissemination of photographic images in 19th century France. By showing the extreme diversity of the production, it argues that books have constituted an experimental ground where modalities of texts’ and photographic images’ associations were tested. Through this process, authors and editors progressively defined what would become the specific characteristics of photographic images as means available for illustration. Allowing publishers and printers to reaffirm their dominant position in the world of publishing, the processes of this appropriation is particular because of the very low involvement of the photographic community itself. Therefore, the thesis proposes a periodization of the links of photographers to the book, analysing its role in the statutory claims they made through time.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Submitted by Wellington Veltroni (wellingtonveltroni@gmail.com) on 2018-04-10T20:01:58Z No. of bitstreams: 4 Disserta__o___Wellington_C__Veltroni-versao_final.pdf: 15387621 bytes, checksum: 73df0490e376ced1e7ca7ae3eb77db60 (MD5) FA_vELTRONI.jpg: 460462 bytes, checksum: 790b1993aa2dca9f252dac391edb16d3 (MD5) rd_vELTRONI.jpg: 817039 bytes, checksum: 9dca57906ec66fb968b138749edaf787 (MD5) tc_vELTRONI.jpg: 581847 bytes, checksum: bcc9d308881a36fbccfb47fe2349b222 (MD5) / Rejected by Eunice Nunes (eunicenunes6@gmail.com), reason: Bom dia Wellington, Informamos que faltou enviar a Carta comprovante assinada pelo orientador. Solicite o modelo em sua Secretaria de Pós-graduação, preencha e colete a assinatura com o orientador e acesse novamente o sistema para fazer o Upload. Fico no aguardo para finalizarmos o processo. Abraços Ronildo on 2018-04-17T14:16:27Z (GMT) / Submitted by Wellington Veltroni (wellingtonveltroni@gmail.com) on 2018-04-18T12:15:38Z No. of bitstreams: 5 Disserta__o___Wellington_C__Veltroni-versao_final.pdf: 15387621 bytes, checksum: 73df0490e376ced1e7ca7ae3eb77db60 (MD5) FA_vELTRONI.jpg: 460462 bytes, checksum: 790b1993aa2dca9f252dac391edb16d3 (MD5) rd_vELTRONI.jpg: 817039 bytes, checksum: 9dca57906ec66fb968b138749edaf787 (MD5) tc_vELTRONI.jpg: 581847 bytes, checksum: bcc9d308881a36fbccfb47fe2349b222 (MD5) Carta_orientadora.pdf: 386667 bytes, checksum: 7343ef875a0334174a4a5abe3fd73b3e (MD5) / Approved for entry into archive by Eunice Nunes (eunicenunes6@gmail.com) on 2018-04-26T12:03:07Z (GMT) No. of bitstreams: 5 Disserta__o___Wellington_C__Veltroni-versao_final.pdf: 15387621 bytes, checksum: 73df0490e376ced1e7ca7ae3eb77db60 (MD5) FA_vELTRONI.jpg: 460462 bytes, checksum: 790b1993aa2dca9f252dac391edb16d3 (MD5) rd_vELTRONI.jpg: 817039 bytes, checksum: 9dca57906ec66fb968b138749edaf787 (MD5) tc_vELTRONI.jpg: 581847 bytes, checksum: bcc9d308881a36fbccfb47fe2349b222 (MD5) Carta_orientadora.pdf: 386667 bytes, checksum: 7343ef875a0334174a4a5abe3fd73b3e (MD5) / Rejected by Eunice Nunes (eunicenunes6@gmail.com), reason: Bom dia Wellington, Verificamos que a folha de aprovação não está inserida em sua dissertação Tentei colocá-la aqui mas desconfigura todo o trabalho Poderia por favor enviar um novo arquivo com a folha de aprovação já inserida em sua dissertação Aguardo o retorno para finalizarmos o processo Qualquer dúvida estou à disposição Abraços Eunice on 2018-05-17T13:43:35Z (GMT) / Submitted by Wellington Veltroni (wellingtonveltroni@gmail.com) on 2018-05-28T14:50:36Z No. of bitstreams: 5 FA_vELTRONI.jpg: 460462 bytes, checksum: 790b1993aa2dca9f252dac391edb16d3 (MD5) rd_vELTRONI.jpg: 817039 bytes, checksum: 9dca57906ec66fb968b138749edaf787 (MD5) tc_vELTRONI.jpg: 581847 bytes, checksum: bcc9d308881a36fbccfb47fe2349b222 (MD5) Carta_orientadora.pdf: 386667 bytes, checksum: 7343ef875a0334174a4a5abe3fd73b3e (MD5) Disserta__o___Wellington_C__Veltroni_c_folha_aprovacao.pdf: 15849017 bytes, checksum: 2884d766f705fbe38907a8f56724796e (MD5) / Approved for entry into archive by Ronildo Prado (ri.bco@ufscar.br) on 2018-06-06T13:12:16Z (GMT) No. of bitstreams: 5 FA_vELTRONI.jpg: 460462 bytes, checksum: 790b1993aa2dca9f252dac391edb16d3 (MD5) rd_vELTRONI.jpg: 817039 bytes, checksum: 9dca57906ec66fb968b138749edaf787 (MD5) tc_vELTRONI.jpg: 581847 bytes, checksum: bcc9d308881a36fbccfb47fe2349b222 (MD5) Carta_orientadora.pdf: 386667 bytes, checksum: 7343ef875a0334174a4a5abe3fd73b3e (MD5) Disserta__o___Wellington_C__Veltroni_c_folha_aprovacao.pdf: 15849017 bytes, checksum: 2884d766f705fbe38907a8f56724796e (MD5) / Approved for entry into archive by Ronildo Prado (ri.bco@ufscar.br) on 2018-06-06T13:12:26Z (GMT) No. of bitstreams: 5 FA_vELTRONI.jpg: 460462 bytes, checksum: 790b1993aa2dca9f252dac391edb16d3 (MD5) rd_vELTRONI.jpg: 817039 bytes, checksum: 9dca57906ec66fb968b138749edaf787 (MD5) tc_vELTRONI.jpg: 581847 bytes, checksum: bcc9d308881a36fbccfb47fe2349b222 (MD5) Carta_orientadora.pdf: 386667 bytes, checksum: 7343ef875a0334174a4a5abe3fd73b3e (MD5) Disserta__o___Wellington_C__Veltroni_c_folha_aprovacao.pdf: 15849017 bytes, checksum: 2884d766f705fbe38907a8f56724796e (MD5) / Made available in DSpace on 2018-06-06T13:16:03Z (GMT). No. of bitstreams: 5 FA_vELTRONI.jpg: 460462 bytes, checksum: 790b1993aa2dca9f252dac391edb16d3 (MD5) rd_vELTRONI.jpg: 817039 bytes, checksum: 9dca57906ec66fb968b138749edaf787 (MD5) tc_vELTRONI.jpg: 581847 bytes, checksum: bcc9d308881a36fbccfb47fe2349b222 (MD5) Carta_orientadora.pdf: 386667 bytes, checksum: 7343ef875a0334174a4a5abe3fd73b3e (MD5) Disserta__o___Wellington_C__Veltroni_c_folha_aprovacao.pdf: 15849017 bytes, checksum: 2884d766f705fbe38907a8f56724796e (MD5) Previous issue date: 2018-03-02 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Text-image alignment is the task of aligning elements in a text with elements in the image accompanying it. In this work the text-image alignment was applied in news sites. A lot of news do not make clear the correspondence between elements of a text and elements within the associated image. In this scenario, text-image alignment arises with the intention of guiding the reader, bringing clarity to the news and associated image since it explicitly explains the direct correspondence between regions of the image and words (or named entities) in the text. The goal of this work is to combine Natural Language Processing (NLP) and Computer Vision (CV) techniques to generate a text-image alignment for news: the LinkPICS aligner. LinkPICS uses the YOLO convolutional network (CNN) to detect people and objects in the image associated with the news text. Due to the limitation of the number of objects detected by YOLO (only 80 classes), we decided to use three other CNNs to generate new labels for detected objects. In this work, the text-image alignment was divided into two distinct processes: (1) people alignment and (2) objects alignment. In people alignment, the named entities identified in the text are aligned with images of people. In the evaluation performed with the Folha de São Paulo International news corpus, in English, LinkPICS obtained an accuracy of 98% precision. For the objects alignment, the physical words are aligned with objects (or animals, fruits, etc.) present in the image associated with the news. In the evaluation performed with the news corpus of BBC NEWS, also in English, LinkPICS achieved 72% precision. The main contributions of this work are the LinkPICS aligner and the proposed strategy for its implementation, which represent innovations for the NLP and CV areas. In addition to these, another contribution of this work is the possibility of generating a visual dictionary (words associated with images) containing people and objects aligned, which can be used in other researches and applications such as helping to learn a second language. / O alinhamento texto-imagem é a tarefa de alinhar elementos presentes em um texto com elementos presentes na imagem que o acompanha. Neste trabalho, o alinhamento texto-imagem foi aplicado em sites de notícias. Muitas notícias não deixam clara para o leitor a correspondência entre elementos do texto e elementos contidos na imagem associada. Nesse cenário, o alinhamento texto-imagem surge com a intenção de orientar o leitor, trazendo clareza para a notícia e a imagem associada uma vez que explicita a correspondência direta entre regiões da imagem e palavras (ou entidades) no texto. O objetivo deste trabalho é combinar técnicas de Processamento de Linguagem Natural (PLN) e Visão Computacional (VC) para gerar um alinhador texto-imagem para notícias: o alinhador LinkPICS. O LinkPICS utiliza a rede convolucional (CNN) YOLO para detectar pessoas e objetos na imagem associada ao texto da notícia. Devido à limitação do número de objetos detectados pela YOLO (80 classes de objetos), optou-se também pela utilização de outras três CNNs para a geração de novos rótulos para objetos. Neste trabalho, o alinhamento texto-imagem foi dividido em dois processos distintos: (1) o alinhamento de pessoas e (2) o alinhamento de objetos. No alinhamento de pessoas, as entidades nomeadas são alinhadas com imagens de pessoas e na avaliação realizada no córpus de notícias da Folha de São Paulo Internacional, em inglês, obteve-se uma precisão de 98%. No alinhamento de objetos, as palavras físicas são alinhadas com objetos (ou animais, frutas, etc.) contidos na imagem associada à notícia e na avaliação realizada no córpus de notícias da BBC NEWS, também em inglês, obteve-se uma precisão de 72%. As principais contribuições deste trabalho são o alinhador LinkPICS e a estratégia proposta para sua implementação, que representam inovações para as áreas de PLN e VC. Além destas, outra contribuição deste trabalho é a possibilidade de geração de um dicionário visual (palavras associadas a imagens) contendo pessoas e objetos alinhados, que poderá ser utilizado em outras pesquisas e aplicações como, por exemplo, no auxílio ao aprendizado de outro idioma. / CNPQ: 133679/2015-2

No description available.

Abstract The aim of this study is to investigate how a picture book for children is transformed into an easy-to-read version for children who have just started reading. I examine two versions of Emil of Lönneberga. One of the books is the orginal picture book of Emil in Lönneberga and was written by Astrid Lindgren (1963), while the other is an easy-toreadversion of the book, as adapted by the author Helena Renvall (1977). I have conducted a comparative study as a text and picture analysis of the material, with the focus on the adaptation of the original story. The adaptation in this case is a revision intended to make the story easier to read and more accessible to today’s children. The most important finding of the study is that easily read information is not just a matter of simplifying the text; the form of both text and pictures is adapted. The text is characterized by simpler words and shorter sentences. The pictorial material has been increased and the originally black and white pictures have been given added red colour. Otherwise, most of the layout has been changed for several reasons, but generally speaking so that the relation between text and pictures on each spread will function inthe most easy-to-read way possible.

L’artiste et poète romantique William Blake (1757-1827) produisit, entre la fin du 18e siècle et le début du 19e siècle, plusieurs livres illustrés unissant texte, images, et décorations marginales. Ce mémoire se penche sur ces illustrations afin d’en analyser les motifs selon l’orientation théorique de l’ « altérité », un concept composite unifiant trois sens : l’infinitude, soit la dimension insaisissable de l’autre ; la distinction, soit l’altérité en tant que différence ; et la déclinaison, soit un mouvement hors du soi. Les chapitres abordent cette « altérité » à travers plusieurs thématiques : la dynamique de la forme visuelle, le lien du sublime et de l’émerveillement à la vision, la représentation du corps et du genre, et le rapport avec la nature. Chaque chapitre exemplifie une manière dont l’« altérité » se lie à des enjeux conceptuels issus de perspectives romantiques et contemporaines. L’analyse considère l’iconographie en tant que reflet et expression de l’imagination blakéenne, guidant la lecture vers une vision et une subjectivité accrues. Le « marginalium », l’élément décoratif marginal du livre illustré, parvient à symboliser cette vision de manière ponctuelle. La « figure flottante », une version humanisée et singularisée de ce marginalium, sous-tend les divers motifs, évoquant l’infinitude du potentiel humain. / Between the end of the 18th century and the beginning of the 19th century, William Blake (1757-1827), a romantic artist and poet, produced various illuminated works which unite text, images, and decorations set in the margins of the page. This thesis considers the iconography of these works, attempting to understand their visual motifs through the theoretical standpoint of “alterity”, a composite notion uniting three meanings: infinitude, or a quality of limitlessness; distinction, or the difference of what is “other”; and extension, suggesting a motion outside the self. The different chapters exemplify how this notion of “alterity” relates to contemporary and romantic theoretical constructs. Among the subjects considered are: “alterity” in itself, the significance of Blakean visual form, the sublime and the experience of awe, the representation of the body and of gender, and the relationship to the natural world. The thesis considers the Blakean iconography as a reflection of the imagination, guiding the reader towards a heightened capacity for vision and subjectivity. The “marginalium”, the decorative marginal element of the illustrated books, symbolizes such vision by a punctual means. The “floating figure”, a humanized and singular marginalium, underlies the different motifs, evoking the infinitude of human potential.

My diploma thesis is instalation, which elements are based on principales of ready-made. Documentation of living performance. Site-specific charakter, objects, and documents are common, that are one from of physical, psychical, and social injuries. Trought the installation and added text with its full range of form I am changing the discurse.