The representation of gender and ethnicity in the media has been widely acknowledged by scholars. Numerous studies have highlighted the underrepresentation of women and people of different ethnicities in news media, addressing not only the small number of their presence, but the way they are generalized and stereotyped through certain characteristics. Despite decades of scholarship, the results remain the same depicting men in positions of power and authority and women as subordinate to most men, often depicted as representatives in different contexts and rather as private persons within the private sphere. As the media influences people’s behaviour and attitudes through constant repetition of certain images, the power of pictures and the visual culture of news need to be addressed. In regard to previous research, the purpose of the given thesis is to examine the visual representation of women, men and people of different ethnicities in the online news of SVT Nyheter. Particularly by examining in what contexts and how, gender and ethnicity is visually embodied in the content of SVT Nyheter. The study is significant as SVT has a certain responsibility in showing a broad spectrum of representation from a gender and diversity perspective. Furthermore, there is a research gap to fill when it comes to studies of public service and the visual representation of news. However, by combining the meaning of visual and written text, the empirical part of this study is conducted through a mixed methods approach, combining quantitative content analysis with a multimodal visual analysis. The results reveal that men are most often embodied in the news articles of SVT Nyheter, both in stories of women/womanhood or men/manhood. Moreover, men are more likely to be portrayed as persons in positions of power and authority. The only two news topics in which women are overrepresented are gender issues and diversity issues. These categories raise questions of female subordination and resistance, often embodied through the smiling gaze. Hence, women’s experiences are reduced by their visual embodiment. Persons defined as “weaker”, such as people of different ethnicities, are more likely to directly face the camera, especially smiling when the topic connotes other feelings. The non-represented are people of different ethnicities or marginalised groups, often addressed but not given a voice. On the basis of the results of this research, it can be concluded that media raises power relations, illustrating that ”the human body”, is most often the male body.

This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood.

2011 was the first year the majority of the American public were in favor of same-sex marriage—a nine point (and largest year-to-year) increase from 2010. That year gave the LGBTQ community a crucial win in the hard-fought cultural war over government validation of same-sex relationships. Not so coincidentally, 2010 saw mass media, specifically network television, depict same-sex relationships like never before. New shows like Modern Family, Glee and The Good Wife hit their ratings zenith alongside stalwarts like Grey’s Anatomy, Desperate Housewives and House. But were the relationships depicted diverse in terms of roles, race, class and gender? Or did they resemble the heteronormative ideal of the white, upper middle-class relationship and family? Through a discourse analysis of popular, scripted network television shows from the 2010-2011 season, I found the depictions to powerfully create a “normal” same-sex relationship towards a heteronormative ideal. Both the same-sex women and men’s relationships were heteronormative in that their statuses and roles within the relationship adhered to the classic masculine/feminine binary. However, the same-sex women’s relationships were queerer, exhibiting sexual fluidity and labels beyond gay and straight. Still, the women maintained Western, feminine appearances supporting Laura Mulvey’s male gaze. The same-sex men’s relationships fully supported Jasbir Puar’s notion of the “exceptional homosexual.” Beyond their roles, the men’s relationships were heteronormative by being same-raced/white, upper-class, and, in two out of the three couples, having children. Ultimately, all the depictions exemplified Monique Wittig’s frustration that historical “discourses of heterosexuality oppress us in the sense that they prevent us from speaking unless we speak on their terms.”

As a museum educator who embraces social education and reflects on the postmodern condition, I found working within a traditional museum context to present challenges. As a result, I conducted an action research project focusing on ways to improve my own practice and affect change based on my engagement with visual culture discourse and the docents I teach. Having chosen action research, I implemented various teaching approaches and collected data over the course of several months. These data collection methods included interviews, museum documents, observational notes, recorded teaching practice, and daily journal entries. Narrative analysis was then used to interpret the collected data, specifically focusing how participants, including myself, make sense out of our experiences and how we value them.

The resurgence of the discussion and practice of performance art in the past thirty years has moved towards the digital age and consequently has been met with a new dimension for exploration: YouTube. This paper investigates a possible reconfiguration of the notion of performance art through the digital archive of performances by South African rap-rave group, Die Antwoord. Utilizing the notions of risk, digital liveness (as posited by Phillip Auslander), and a conceptual dimension of ideas, a distinctive characterization of online performance art is posited. The video archive as conduit, a performative channel of expression, is considered as means of interactive meaning-making processes. This is accomplished by looking at Die Antwoord’s digital archive of YouTube videos and its confrontational content, as well as the responses in the comment section from the YouTube community in order to consider how the archive is reconfigured. / Dissertation (MA)--University of Pretoria, 2016. / Drama / Unrestricted

Submitted by Jakeline Ortega (jakortega@unoeste.br) on 2016-08-12T13:50:40Z No. of bitstreams: 1 NARDA_DISSERTACAO-VERSAOFINAL (1).pdf: 6146402 bytes, checksum: 6afb05a9971dd10a7d9c2f6122783e9b (MD5) / Made available in DSpace on 2016-08-12T13:50:40Z (GMT). No. of bitstreams: 1 NARDA_DISSERTACAO-VERSAOFINAL (1).pdf: 6146402 bytes, checksum: 6afb05a9971dd10a7d9c2f6122783e9b (MD5) Previous issue date: 2016-03-31 / This Master's thesis, linked to the Postgraduate Diploma in Education UNOESTE Program, presents research on the concepts of body and beauty, and their entanglements with gender relations as statements and expressions of boys and girls of four and five years members of an Infantile Education Institution in the city of Ribeirão Claro - Paraná. Bring the general objective: To identify and analyze the social and cultural mechanisms related to gender, in which produce the differences, hierarchies and subordination in relations between boys and girls. Among the specific objectives of this research are: Identify the expressed body images in visual artifacts present in materials in educational activities experienced by the children of early childhood education; Ascertain the lines on the body expressed by children and what criteria and cultural references are anchored their ideals for body beauty attributes of boys and girls; Investigate their conceptions of femininity and masculinity, from the reading they do the body images they are given to do; Analyze what are the meanings and judgments that children express for what is "beautiful body" and "ugly body" and what your links and / or implications in their gender representations. To achieve the results were perpassados problematizations paths that were about childhood, body, gender and visual culture based on dialogue with cultural studies and sociology of childhood. Besides the presentation of theoretical studies, this text spoke on the comments and dynamics made with the children during the search and his lines on the body, beauty, boy and girl. The methodology was based on historical-cultural studies and ethnography, so that the researcher was present in the context of the actions under consideration and kept a note attentive to details of spatial composition, its uses and the relationships that are established between the children in place. There were moments of interaction between the researcher and the children, and the application of a questionnaire for the parents and the use of semi-structured interviews for teachers and parents. I conclude this research by stating that children of very subtly escape adult power networks within the school environment, seeking to experience their bodies in different ways and experience different situations with its own rules, created within their children's cultural universes, ie , now on the line, now misaligning. / Esta dissertação de Mestrado, vinculada ao Programa de Pós-Graduação em Educação da UNOESTE, apresenta a investigação sobre as concepções de corpo e beleza, e seus entrelaçamentos com as relações de gênero, conforme pronunciamentos e manifestações de meninos e meninas de quatro e cinco anos integrantes de uma Instituição de Educação Infantil no município de Ribeirão Claro - Paraná. Trago como objetivo geral: Identificar e analisar os mecanismos socioculturais relacionados ao gênero, em que se produzem as diferenças, hierarquizações e subordinações nas relações entre meninos e meninas. Dentre os objetivos específicos da presente pesquisa estão: Identificar as imagens corporais expressas em artefatos visuais presentes em materiais nos espaços educacionais vivenciados pelas crianças da Educação Infantil; Averiguar as falas sobre o corpo expressas pelas crianças e em que critérios e referências culturais se ancoram seus ideais para os atributos de beleza corporal de meninos e meninas; Investigar suas concepções de feminilidade e masculinidade, a partir da leitura que elas fazem das imagens do corpo que lhes são dadas a ver; Analisar quais são os significados e juízos que as crianças expressam para o que seja “corpo belo” e “corpo feio” e quais seus vínculos e/ou implicações em suas representações de gênero. Para o alcance dos resultados, foram perpassados caminhos de problematizações que versaram sobre a infância, corpo, gênero e cultura visual, com base no diálogo com os estudos culturais e a sociologia da infância. Além da apresentação dos estudos teóricos realizados, este texto discorreu sobre as observações e dinâmicas realizadas com as crianças durante a pesquisa e suas falas sobre corpo, beleza, menino e menina. A metodologia foi pautada nos estudos histórico-culturais e na etnografia, de modo que a pesquisadora esteve presente no contexto das ações em estudo e manteve uma observação atenta aos detalhes da composição espacial, de seus usos e das relações que se estabeleciam entre as crianças no lugar. Ocorreram momentos de interação entre a pesquisadora e as crianças, além da aplicação de um questionário para os pais e do uso de entrevistas semiestruturadas para professores e pais. Concluo esta pesquisa ao afirmar que as crianças de forma muito sutil escapam de redes de poder adulto dentro do espaço escolar, na busca por experimentar seus corpos de diferentes formas e vivenciar diferentes situações com regras próprias, criadas dentro de seus universos culturais infantis, ou seja, ora na linha, ora desalinhando.

abstract: Dulcinea del Toboso es todo un misterio, ya que no es una persona real, sino un personaje ficticio que nunca llega a aparecer en la novela Don Quijote de La Mancha, de Miguel de Cervantes (1605, 1615). Aunque Dulcinea no dice una sola palabra en el libro, existe en la imaginación de su protagonista, Don Quijote. Este hombre de edad avanzada, aficionado a la lectura de libros de caballería, fantasea con la idea de ser un caballero en busca de aventuras, motivado en todo momento por el pensamiento de su dama idealizada. La descripción que ofrece Cervantes al presentar a Dulcinea en la novela es ambigua, ya que la asocia con una campesina llamada Aldonza, pero sin llegar a emplear elementos de certeza. Dulcinea no es un ser humano, ni tampoco un verdadero personaje literario, así que la única imagen que uno puede formarse de ella reside en la imaginación. Esta investigación se centra en probar que esa imagen ha tenido una impactante evolución a través de los siglos hasta convertirse hoy día en una especie de marca distintiva. Varios intelectuales han estudiado el enigma de Dulcinea. Miguel de Unamuno la interpretó como gloria eterna, Menéndez Pidal como puro ideal, Pedro Salinas como la sombra de un personaje que nunca llegó a ser. Más recientemente Anne Cruz la describía como el cuerpo inmaterial más famoso de todas las obras de Cervantes, y Frederick de Armas como imaginación mítica en pleno desempeño. Entonces, ¿cómo se representan los cuerpos inmateriales? ¿Cómo ser Dulcinea y Aldonza y ninguna de ellas a la vez? ¿Cómo alcanzar tanta fama sin tener si quiera una voz real? El propósito de mi estudio es reinterpretar la Dulcinea de Don Quijote desde la perspectiva de los productos audiovisuales y culturales del siglo XX y XXI. La idea es abrir nuevas perspectivas a los enfoques contemporáneos de lecturas clásicas. Los estudios interdisciplinarios y las interpretaciones modernas, como las usadas en este trabajo, atraerán a los estudiantes actuales, los cuales tienden a visualizar las humanidades y el estudio de los libros clásicos como una materia intangible difícil de entender (algo así como la percepción convencional de la elusiva Dulcinea del Toboso). Esta tesis quiere contribuir a cambiar ese sentimiento. / Dissertation/Thesis / Doctoral Dissertation Spanish 2020

Cette thèse se penche sur les photographies dites « iconiques » issues des contenus photojournalistiques de la guerre américaine au Vietnam. Au cours de l’histoire moderne, quelques dizaines de photographies documentaires, d’art ou de mode ont été consacrées comme « icônes », un terme qui dénote leurs qualités symboliques ou d’incarnation. Parmi ces images, quatre ont émergé de l’archive visuelle de la guerre du Vietnam. Ces quatre icônes sont des images photojournalistiques au contenu choquant, sensationnel ou violent, qui ont fait l’objet de nombreux rappels dans la presse au cours des décennies post-guerre, ainsi que de remédiations dans divers domaines artistiques. Leur grande renommée a conduit l’historiographie de la guerre et l’imaginaire public à les penser influentes ; ainsi, on pense souvent que ces images ont retourné l’opinion publique pendant le conflit ou causé la défaite. Cette thèse examine de près la relation entre « icône » et « influence » par le biais d’une revue de l’historiographie des médias pendant la guerre du Vietnam et dans sa période de mémorialisation. Si la notion d’influence des images est démentie par certains experts dans des études très précises et documentées, elle continue néanmoins de faire partie de la définition des icônes photojournalistiques et de nombreux contenus médiatiques de nos jours. La spécificité des icônes du Vietnam et leur progression dans la presse des années 1970 aux années2000 sont ici présentées en détail pour expliquer comment ces images sont devenues représentatives de la notion d’influence, et dans quelle mesure les discours médiatiques ont contribué à une éducation par l’icône. L’objectif de cette étude est de montrer que les icônes sont des objets uniques dans leur composition et tout à fait métaphotojournalistiques qui attestent de l’attachement de la discipline à leur adaptabilité et à leur familiarité. Le public américain n’est plus le seul réceptacle de leur symbolisme, et les icônes, du Vietnam comme d’autres contextes,ont désormais atteint un statut international. Par conséquent, les icônes participent, dans l’ère contemporaine, à la problématisation et à la théorisation des études en culture visuelle. / This dissertation focuses on those press photographs from the Vietnam war considered to be “iconic”. In recenthistory, only about 30 or 40 photographs, whether documentary, art, or fashion images, have been consecrated as“icons”, a word that denotes their capacity to symbolize or embody various concepts. Among these images, fourhave surfaced from the visual archive of the Vietnam War. These icons are photojournalistic images whose contentwas considered shocking because of their sensational and graphic nature and which have appeared consistently inthe press since the end of the war and remediated in various artistic fields. Their fame has caused thehistoriographers of the Vietnam War and the public to think of them as influential objects; they have been credited with, or blamed for, turning public opinion against the war or for causing the ultimate defeat of American forces.This dissertation examines closely the relationship between “icon” and “influence” by way of a review of thehistoriography of the media during the Vietnam War and, afterwards, through its memorialization. Even thoughthe notion of influence is refuted by some experts in very precise and well-documented case studies, it remains anintegral part of the definition of photojournalistic icons of media content today. This essay exposes in detail theunique characteristics of the Vietnam icons and their progress in the press from the 1970s to the 2000s so as toexplain how these images have become representative of the influence theory, and to what extent media discoursehas contributed to educating the public by using icons. The aim of this essay is to show that icons have truly unique compositions and are fully meta-photojournalistic objects that testify to the media’s attachment to their adaptability and familiarity. The American public is no longer the only recipient of their symbolism ; icons—from Vietnam andfrom other contexts—have now reached an international status. Consequently, in contemporary times, icons contribute to problematizing and theorizing studies in visual culture.

À l’aube du XXIe siècle, la fiction britannique se trouve aux prises avec des représentations conflictuelles du voir. Inscrite dans le contexte du « tournant visuel », elle rend compte de la place prépondérante que les technologies et médias visuels occupent dans l’espace culturel. Dans le même temps, elle entre en dialogue avec un discours anxieux, qui met en avant l’idée d’une crise du visuel. Privilégié pendant des siècles comme le plus intellectuel et le plus noble des sens, le voir semble devenu l’un des lieux où s’orchestrent la manipulation et le contrôle des citoyens, surveillés et exposés au spectacle du capitalisme tardif. Faisant état de ces inquiétudes, la fiction élabore une poétique et un imaginaire de l’optique dans lesquels un sens trouve cependant à se construire. Contre l’exercice d’une autorité visuelle supposée absolue, elle produit des dispositifs dont le fonctionnement subvertit les processus d’assujettissement visuel, et invente de nouvelles pratiques de subjectivation. Ce travail implique un changement de paradigme dans notre appréhension du voir. À la confrontation dichotomique d’un sujet qui voit et d’un objet visible, notre corpus substitue des scènes de rencontre, dans lesquelles le regard se fait réciproque. L’imaginaire épistémologique qui associait la perception visuelle à une forme de connaissance, et la concevait ainsi comme un processus d’appropriation, laisse alors place à une conception politique et éthique du voir, selon laquelle le sujet émerge sous le regard de semblables dont il est, immédiatement, responsable. Ainsi voir c’est toujours s’offrir au regard de l’autre, et prendre le risque que l’échange prenne un tour inattendu, que la reconnaissance dérape. Cette appréhension de l’expérience visuelle, qui compose avec ses imperfections et envisage le lien réciproque par lequel le sujet et le sens émergent, nous engage à envisager une phénoménologie pragmatique de la lecture. / At the turn of the 21st century, British fiction finds itself negotiating conflicting perceptions of vision. In the context of the “visual turn,” it reflects the increasingly influential role that visual technologies and media play in today’s cultural landscape. At the same time, it addresses anxious accounts of what is often presented as a crisis of the visual. For centuries vision was celebrated as the most intellectual of the senses; today, however, it is more often presented as a key component in practices of manipulation and control. Far from standing as a master of the visible world, the seeing subject appears as subjugated, living as he does under constant surveillance, and among the simulacra of the late capitalist spectacle. While taking such concerns into account, contemporary fiction creates optical dispositives that subvert the mechanisms of visual subjectification, and pave the way for new practices of subjectivation. This calls for a shift in the paradigms used to delineate the workings of vision. The novels we analyse here leave behind optical models defined by the binary separation between seeing and seen, subject and object. What they create instead are visual encounters in which one pair of eyes necessarily meets another. The epistemological understanding of visual perception as a vehicle of knowledge is replaced by a political and ethical interpretation of vision: the seeing subject emerges under the gaze of others, whom he acknowledges as his responsibility. In seeing therefore we run the risk that the encounter might go awry, that recognition might turn into misrecognition. This conception of visual experience emphasises the reciprocal structures of discourse and perception within which subjects and meanings emerge, but also reckons with the imperfections inherent in any interactive exchange between seeing and speaking subjects. It suggests that we engage with the phenomenology of reading through the pragmatics of discourse.

Orientador: Rúbia Barcelos Amaral-Schio / Resumo: O principal objetivo deste trabalho é investigar as funções que a Geometria desempenha em campos não-geométricos em livros didáticos dos Anos Finais do Ensino Fundamental, aprovados pelo Programa Nacional do Livro Didático 2017. A partir dele foram delineados dois objetivos específicos, a saber: analisar como os conteúdos de Geometria estão estruturados (introdução, abordagem e desenvolvimento) em capítulos não-geométricos; mapear, em capítulos não-geométricos, as tarefas que fazem uso da Geometria em seus enunciados. A base teórica que fundamentou esta pesquisa foram os estudos de Flores (2003, 2010, 2013) acerca da cultura visual, entendida como as concepções inerentes à cultura de uma sociedade, manifestas em sua forma visual. Dentro da cultura visual, foi assumido o termo visualidade, definido como os discursos que informam sobre o modo como nós vemos. Pautada numa abordagem qualitativa, foram analisadas, nesta dissertação, três coleções de livros didáticos, totalizando 12 obras. Todo o conteúdo de Geometria que permeava os capítulos de Álgebra, Aritmética, Probabilidade e Estatística foi classificado de acordo com as funções que exerce, a saber: função ilustrativa, formativa, explicativa, demonstrativa, representativa e imagem mental. Resultados reforçam o caráter histórico e cultural da Geometria ao pontuar o uso de figuras geométricas como parte do discurso visual da sala de aula. Em alguns conteúdos de Álgebra e Aritmética, a Geometria se estabeleceu como prática visu... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The main goal of this paper is to investigate the functions Geometry performs in non-geometric fields in textbooks of the last years of Elementary School, approved by the National Textbook Program 2017. From it, two specific objectives were outlined: to analyze how geometry contents are structured (introduction, approach and development) in non-geometric chapters; to map, in non-geometric chapters, the tasks that make use of geometry in their tasks. The theoretical basis that underpinted this research was Flores' studies (2003, 2010, 2013) about visual culture, understood as the conceptions inherent to the culture of a society, manifested in its visual form. Within the visual culture, the term visuality was assumed, defined as the discourses that inform us about the way we see. Based on a qualitative approach, three collections of textbooks were analyzed in this research, totaling 12 books. All the content of Geometry that permeated the chapters of Algebra, Arithmetic, Probability and Statistics was classified according to the functions it performs, namely: illustrative, formative, explanatory, demonstrative, representative and mental image function. Results reinforce the historical and cultural character of Geometry by highlighting the use of geometric figures as part of the visual discourse of the classroom. In some contents of Algebra and Arithmetic, Geometry has established itself as a visual practice that composes the ways students of basic education look at it. Therefor... (Complete abstract click electronic access below) / Mestre