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The relationship between visual and verbal codes of visual rhetoric in a sequential art settingVan der Merwe, Ernest 11 1900 (has links)
Thesis (M. Tech.) - Dept. of Visual Arts and Design, Faculty of Human Sciences - Vaal University of Technology / The aim of the study was to examine the relationship between visual and
verbal codes of visual rhetoric in a sequential art setting. The literature
investigation component of the study covered: (1) the notion of visual literacy;
(2) the principles of visual rhetoric, and (3) trends in sequential art. The
empirical component of the study involved the production of sequential art
test material with an accompanying questionnaire in order to measure the
comprehension of visual rhetoric in a sample of 197 undergraduate students
at the Vaal University of Technology. The working hypotheses that guided
the study were, firstly, that the comprehension of the visual code of the visual
rhetoric used in a sequential art setting differs between (a) study participants
that received visual training prior to the data collection and (b) study
participants that received no visual training prior to the data collection, and secondly, that the comprehension of the visual code of the visual rhetoric
used in a sequential art setting differs between (a) study participants that
received test material in their home language and (b) study participants that
did not receive the test material in their home language. Following a one-way
ANOVA analysis of the questionnaire data, the first hypothesis indicated a
significant statistical difference (p=O.OO) and was not rejected. The second
hypothesis indicated no significant statistical difference (p=0.138) and was
rejected. Based on the result obtained, possibilities for further research were motivated. / Vaal University of Technology
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Wassily Kandinsky: Do espiritual na arte e a proposta da sonoridade interiorGuedes, Ângelo Dimitre Gomes 18 August 2011 (has links)
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Previous issue date: 2011-08-18 / Fundo Mackenzie de Pesquisa / The relationship between the visual, sonorous and verbal codes is a subject that has
fascinated many artists and researchers. Wassily Kandinsky (1866-1944) has been responsible
for one of the most respected works in this field. Poetry, synesthesia and sensitivity
are hallmarks since his childhood. In the late nineteenth and early twentieth centuries,
art showed signs of breaking with the representation of the outside world model. In this
scenario, Kandinsky sought the inner/spiritual content of the art work: the inner
sonority. Through inner sonority, different outward forms can achieve the same resonance in
the soul of the viewer. In his book "Concerning the Spiritual in Art", published in 1914,
Kandinsky set out the main concepts related to inner sonority. The author seemed
to predict new directions for art, in which external values would be reduced and inner sonority
amplified. This dissertation presents a reflection on this scenario. It points out the path
traveled by Kandinsky in the development of his language, focusing on
issues concerning relations between codes. It also sets out the main concepts presented in his
book , presents the Monumental Art, concept created by Kandinsky, in which several codes
are related, brings an analysis of parts of the scenic composition "The Yellow sound", that is
an example of the Monumental Art. And finally, it presents an art essay written by the
author of this dissertation, in which elements of visual, sonorous and verbal codes are related
through inner sonority / A relação entre os códigos visual, sonoro e verbal é um tema que sempre fascinou diversos
artistas e pesquisadores. Wassily Kandinsky (1866-1944) foi responsável por um dos mais
conceituados trabalhos nesse campo. Poesia, sinestesia e sensibilidade são características
marcantes desde a sua infância. No final do século XIX e início do século XX, a arte
apresentava sinais de ruptura com o modelo de representação do mundo exterior. Em meio a
esse cenário, Kandinsky buscou o conteúdo interior/espiritual de uma obra de arte: a
sonoridade interior. Por meio dela, formas exteriores distintas podem atingir a mesma
ressonância na alma do espectador. Em seu livro Do Espiritual na Arte , publicado em 1914,
Kandinsky expôs os principais conceitos concernentes à sonoridade interior. O autor parecia
profetizar novos rumos à Arte, nos quais os valores externos seriam reduzidos e a sonoridade
interior amplificada. Esta dissertação apresenta uma reflexão sobre todo esse cenário. Aponta
o trajeto percorrido por Kandinsky no desenvolvimento de sua linguagem, concentrando-se
em assuntos concernentes a relações intercódigos. Expõe os principais conceitos apresentados
no livro Do Espiritual na Arte . Apresenta a Arte Monumental, conceito criado por
Kandinsky, no qual diversos códigos são relacionados. Analisa recortes da composição cênica
A sonoridade amarela , exemplo de Arte Monumental. Apresenta um ensaio artístico criado
pelo autor da presente dissertação, no qual são relacionados elementos dos códigos visual,
sonoro e verbal, por meio da sonoridade interior
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