Submitted by Maike Costa (maiksebas@gmail.com) on 2016-02-16T14:06:13Z No. of bitstreams: 1 arquivototal.pdf: 3923588 bytes, checksum: decb7a3c36ae3a6e9488321eb846455a (MD5) / Made available in DSpace on 2016-02-16T14:06:13Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3923588 bytes, checksum: decb7a3c36ae3a6e9488321eb846455a (MD5) Previous issue date: 2015-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Prior to the invention of writing, the image was a means of communication which contributed to the expression of social relations, to the culture and ideology of the age. With the „development‟ of civilization, the image lost its natural character, which led to the configuration of a new system of symbols, from the ideogram to the rise of the alphabet, bringing about a break in the communication through images. However, with the advent of post-modernity and the advance of media culture a new concept has been established in society, a concept marked by the symbolic and by the proliferation of the image. Given the range of the theme „image‟ in the various fields of science, we delimit our analysis in terms of the religious imagination and the images contained in Teaching Manuals used in Religious Education (TMRE) from the platform of Gilbert Durand‟s symbolical hermeneutics. In this vein the research concentrated, initially, on enumerating certain theoretical presuppositions which guide and sustain the analysis undertaken with a view to strengthening its relevance in relation to the triad of the „religious imagination‟, the visual image and the teaching manual. The aim is to consolidate and collaborate with the development of research on religious symbolic representation, bearing in mind the thematic issue of the visual image in TMRE, in order to use it critically and creatively in educative spaces in schools. The findings of this research point to the guaranteed presence of the visual image in TMRE, above all in the genres of drawing, painting, photography and info-imagery, with the hegemony of photography. While the treatment of the image as an object of knowledge is outlined, therefore, as a codifier of religious symbolic representations, the predominant pedagogical use is illustrative. The general configuration of TMRE was structured on the basis of imaginary representation in the mystical-religious form, set within a theological and messianic conception of religion. / Antes do surgimento da escrita, a imagem era um meio de comunicação que contribuía para expressar as relações sociais, a cultura e a ideologia da época. Com o “desenvolvimento” da civilização, ela perdeu seu caráter natural, o que levou à configuração de um novo sistema de símbolos, desde o ideograma até o surgimento do alfabeto, que acarretou o rompimento com as comunicações de natureza imagética. Todavia, o advento da pós-modernidade e o avanço da cultura midiática estabeleceram um novo conceito de sociedade, marcado pelo simbólico e pela proliferação da imagem. Devido à abrangência do tema „imagem‟, nos vários campos do conhecimento, delimitamos nossa análise em torno do imaginário religioso nas imagens contidas nos livros didáticos de Ensino Religioso (LDER), a partir da hermenêutica simbólica de Gilberto Durand. Nesse sentido, a pesquisa concentrou-se, inicialmente, em explicitar alguns pressupostos teóricos que norteiam e dão sustentação à análise empreendida, fortalecer sua relevância sobre a tríade „imaginário religioso, imagem visual e livro didático‟ e consolidar e colaborar com o desenvolvimento de pesquisas sobre as representações simbólicas religiosas, tendo em vista refletir sobre a problemática da imagem visual no LDER, a fim de utilizá-la crítica e criativamente nos espaços educativos escolares e não escolares. Os achados de pesquisa apontaram para a presença garantida da imagem visual no LDER, sobretudo nos gêneros desenho, pintura fotografia e infoimagem, com a hegemonia da fotografia. Embora seja vislumbrado o tratamento da imagem como objeto de conhecimento, portanto, codificador de representações simbólicas religiosas, o uso pedagógico predominante é o ilustrativo. A configuração geral do LDER foi estruturada a partir de uma representação imaginária de viés místico-religioso, pautado numa concepção teológica e messiânica da religião.

Esta dissertação busca verificar como se dá o diálogo entre a esfera científica e a esfera literária infantil em corpus constituído por oito obras literárias infantis, do cientista e escritor Angelo Machado, as quais se particularizam por veicular conhecimento científico. A fundamentação teórica está embasada na teoria do Círculo de Bakhtin e também nos pressupostos teóricos de autores que se debruçaram sobre a literatura infantil, a imagem visual e a divulgação científica. Os resultados destacam que o diálogo entre a esfera científica e a esfera literária se dá, nas dimensões verbais, visuais e verbovisuais dos enunciados analisados, em dois movimentos dialógicos, a saber, a supremacia do científico sobre o literário e a supremacia do literário sobre o científico. A supremacia do científico sobre o literário foi verificada por meio de três categorias de análise: 1) esquemas ilustrativos; 2) precisão de traços; 3) diálogo como procedimento de divulgação da ciência. Já a supremacia do literário sobre o científico pôde ser constatada por meio de outras duas categorias: 1) cronotopo; 2) criação de personagens. Essas categorias possibilitaram verificar também que a ciência presente nos textos de Machado ora é explícita e circunscrita a momentos precisos das obras, ora é implícita e integrada aos aspectos literários. / This dissertation searches to verify how the scientific sphere dialogues with infant literature in a corpus constituted of eight books by the scientist and writer Angelo Machado in which he adapts scientific knowledge to children. The theoretical basis comes from the ideas of the Bakhtin Circle and authors who studied the infant literature, the visual image and the scientific divulgation. The results show that the dialogue between the scientific and the literary spheres occurs in verbal, visual and verbovisual dimensions and in two dialogical movements: the supremacy of science over literature and the supremacy of literature over science. The former was verified in three main features: 1) illustrative schemes; 2) precision of traces; 3) dialogue as a procedure of science divulgation. The latter was observed in other two categories: chronotope and presence of characters. These categories also allowed us to verify that in Machados texts science is sometimes explicit and restricted to precise moments in his works, sometimes implicit and integrated to the literary aspects.

The following diploma thesis deals with image destruction in the public space, specifically focuses on its selected fragments, which can be considered as communication messages. The work provides a synchronous and diachronic analysis of the subject of the research as well as the transformation of its statuses, thus concentrating on the acquisition, transformation and extinction of the symbolic meanings of the object within the cultural- historical complex. The pattern of destruction of the image in the public space is chosen as Lennon's Wall in Prague, whose constant visual and meaningful transformation is taking place today - against the backdrop of the historical, power and cultural context. The theoretical basis is based on the analysis of change based on the concept of "discourse" and "discourse formation" by Michel Foucault, as well as on the anchoring of methodology in CDA Norman Fairclough and DHA Ruth Wodak. Keywords Visual Image in Public Space, Lennon's Wall, Linking, Discourse, Destruction, Communication, Power.

Фотографический образ территории является неким представлением, видением местности, важных характеристик, представленных с помощью выразительных средств фотографии. Челябинская область как субъект Российской Федерации обладает не только сомнительным имиджем, но также и спорным фотографическим образом. Цель данного исследования состоит в анализе роли фотографического образа как эффективного фактора продвижения территории на примере Челябинской области и разработке практических рекомендаций по корректировке существующего фотографического образа региона. / The photographic image of the territory is a certain representation, vision of the area, important characteristics submitted by expressive means of photography. Chelyabinsk region as the territorial subject of the Russian Federation has not only doubtful image, also it has a disputable photographic image. The objective of this research consists in the analysis of a role of a photographic image as effective factor of promotion of the territory on the example of Chelyabinsk region and development of practical recommendations about correction of the real photographic image of the region.

We report a class of the mathematics in which an animation technology (calculating and plotting capabilities) of the software Mathematica is utilized. This class is taught for university students in a computer laboratory during a second semester. It is our purpose to make a student realize the usefulness and the importance of mathematics easily through visualization. In addition, we hope that students will acquire a new power of mathematics needed in the 21st century. For several years, we have continued this kind of class, and have continued to investigate the effectiveness that our teaching method (especially visualization) brings in the understanding of the mathematics. In this paper, we present some of this teaching method, which is performed in our class. From the questionnaire survey, it is found that our teaching method not only convinces students that the mathematics is useful or important but also deepens the mathematic understanding of students more.

Made available in DSpace on 2017-07-10T18:55:34Z (GMT). No. of bitstreams: 1 simone_tomazetto.pdf: 1983509 bytes, checksum: e410c845c89b8a62db3da2e96364d3f2 (MD5) Previous issue date: 2012-12-12 / This paper aims to present considerations that may contribute to the shape linguistic and semantic function as discursive situation of interjections and phrases interjetivas, from the theoretical assumptions with main focus on studies Gonçalves (2002), Bakhtin (2000, 2002a, 2002b), Bakhtin / Voloshinov (2004) and Marcuschi (2007). The intention of this paper is to reflect and discuss the considerations of the use of interjections and phrases interjetivas acts as expressive, natural conversation, expressing your feelings through words and body language, featuring different senses of semantic and discursive. For data analysis, this research sought supports the theories of speech acts, based on theoretical and Austin (1962) and Searle (1981), in conversation analysis with theoretical support in Marcuschi (1991) and Dionysus (2011), and in the language of visual imagery, verbal and non-verbal of comic strips with methodological studies of Gumperz (1998) and Ramos (2010). The corpus chosen for this research consists in comic strips, selected the Folha de São Paulo in 1970 and 1990, in textbooks and electronic sites. This is a survey of the basic nature of the qualitative type that you want to analyze the form and function of interjections and phrases within interjetivas comic strips, observing the discursive and semantic factors. The analysis results show that, as of interjections and phrases can be interjetivas list the basic emotions of expressive acts and explain its flexibility from factors of pragmatic, and expressive acts that are not in the service of transmitting a information, but the service of a manifestation of an emotional state, observed in speech acts and conversation between characters when it materializes the image visual communication, verbal and nonverbal. Thus, it is expected that this research will bring a contribution for teachers of English, which can be used as a source of research, contributing to the construction of knowledge of teachers and students in the context of the classroom as a way of meaningful learning. / Este trabalho tem por objetivo apresentar considerações que podem contribuir com relação à forma linguística e à função semântica enquanto situação discursiva das interjeições e locuções interjetivas, a partir dos pressupostos teóricos com enfoque principal nos estudos de Gonçalves (2002); Bakhtin (2000, 2002a, 2002b), Bakhtin/Voloshinov (2004) e Marcuschi (2007). A intenção deste trabalho é refletir e discutir sobre as considerações do uso das interjeições e locuções interjetivas como atos expressivos, conversação natural, demonstrando seus sentimentos por meio de palavras e expressões corporais, caracterizando diferentes sentidos de ordem semântica e discursiva. Para análise dos dados, esta investigação buscou suportes nas teorias dos atos de fala, com base em teóricos como Austin (1962) e Searle (1981); na análise da conversação com suporte teórico em Marcuschi (1991) e Dionísio (2011); e na linguagem da imagem visual, verbal e não verbal das tiras em quadrinhos com os estudos metodológicos de Gumperz (1998) e Ramos (2010). O corpus escolhido para essa pesquisa é constituído nas tiras em quadrinhos, selecionadas do Jornal Folha de São Paulo dos anos de 1970 e 1990, em livros didáticos e em sites eletrônicos. Trata-se de uma pesquisa de natureza básica do tipo qualitativa que pretende analisar a forma e a função das interjeições e das locuções interjetivas dentro das tiras em quadrinhos, observando os fatores semânticos e discursivos. Os resultados da análise demonstram que, a partir das interjeições e locuções interjetivas podem-se elencar as emoções básicas dos atos expressivos e explicar sua flexibilidade a partir de fatores de ordem pragmáticos, e que os atos expressivos, não estão a serviço da transmissão de uma informação, e sim a serviço de uma exteriorização de um estado emocional, observados nos atos de fala e na conversação entre os personagens quando se materializa a comunicação de imagem visual, verbal e não verbal. Dessa forma, espera-se que esta pesquisa traga uma contribuição para professores de língua portuguesa, que poderá ser utilizada como fonte de pesquisa, contribuindo para a construção do conhecimento dos docentes e dos discentes no contexto da sala de aula como uma forma de aprendizagem significativa.

We report a class of the mathematics in which an animation technology (calculating and plotting capabilities) of the software Mathematica is utilized. This class is taught for university students in a computer laboratory during a second semester. It is our purpose to make a student realize the usefulness and the importance of mathematics easily through visualization. In addition, we hope that students will acquire a new power of mathematics needed in the 21st century. For several years, we have continued this kind of class, and have continued to investigate the effectiveness that our teaching method (especially visualization) brings in the understanding of the mathematics. In this paper, we present some of this teaching method, which is performed in our class. From the questionnaire survey, it is found that our teaching method not only convinces students that the mathematics is useful or important but also deepens the mathematic understanding of students more.

AFRIKAANS: Visuele kommunikasie vorm die basis van ’n prakties-teologiese literatuurstudie, waar ondersoek gedoen word na die invloed van die massamedia en die populêre kunste op die kommunikasie-arbeid van die hedendaagse prediking. Naas die geskrewe en gesproke taal word in die betrokke studie vir ’n nuwe definiëring van taal gepleit: die visuele taal as selfstandige taalkode binne die homiletiek. Visuele taal is meer as blote literêre metafore wat die menslike verbeelding aangryp; eerder is dit die verskuiwing na ’n genre waar beeld as visuele metafoor die gelykwaardige funksie van die woord verrig. Sonder om die woord enigsins na ’n sekondêre posisie uit te skuif, word ’n pleidooi gelewer vir ‘n harmonieuse wisselwerking waar woord en beeld komplementerend op mekaar inwerk. Hierdie visuele taalkode sal in die prediking as legitieme preekstyl naas die oratoriese preekstyl aangeleer moet word, in wat in hierdie studie as visuele prediking bekend sal staan. In visuele prediking, waar beeldende prediking met multi-sensoriese prediking gekombineer word, word die visuele beeld die primêre kommunikasie-eenheid. In die betrokke studie is daar twee fokusse: <ul> <li>’n Prakties-teologiese fundering van hierdie nuwe visuele taal en veral visuele prediking binne ’n visueel-gedrewe konteks. </li> <li>Opstel van prakties-teologiese riglyne vir die implementering van visuele prediking binne die hedendaagse erediens. <bt></li></ul> ENGLISH: Visual communication forms the basis of a practical-theological literature study, where the influence of the mass media and the popular arts on the communication toil of present-day preaching is investigated. Alongside of the written and spoken language, this study is a plea for the new defining of language: the visual language as an independent language code within homiletics. Visual language is more than only literary metaphors which grips the human imagination; rather it is the shift to a genre where image as a visual metaphor performs an equally similar task to the word. Without moving the word to a secondary position, an argument is made for a harmonious interplay where word and image can work complementary to each other. This visual language code should be learned as a legitimate style of preaching besides the oratorical preaching style, which will be known in this study as visual preaching. In visual preaching, where image preaching and multi-sensory preaching are combined, the visual image will become the primary communication unit. In this study there are two focuses: <ul> <li>A Practical-theological foundation of this new visual language and especially visual preaching within a visual-driven context. </li> <li>A composition of practical-theological guidelines for the implementing of visual preaching within the present-day church service. <br></li></ul> Regarding the first focus of the study, theological reflection surrounding the understanding of the second commandment with regards to image within the liturgy and especially homiletics, as well as the dualistic perspective of the church in the past is done, while a theology of incarnation, creation, ‘Imago Dei’ and the Word is established in order to create a solid basis for visual preaching. Combined herewith, there is also a look at the influence of the visual media and communication on the visual generation, namely Generation X, Y and Z, with specific focus on the postmodern context in which these three generations function. Following this, a new practical-theological perspective on the human imagination, human emotion, human creativity, the visual narrator, transcendence, participation, multi-sensory communication and visual presentation opens the way for effective visual preaching. Regarding the second focus of the study, five categories surrounding visual images can be distinguished: graphic images – pictures, statues, artistic designs and photos; optical images – mirror images and light projections; perceptual images – sensory data, theatre props, illustrative aids; imaginary images – dreams, memories, ideas and imagination; verbal images – metaphors, analogies and narratives. For the purpose of this study the focus is mainly on the first category: graphic and visual images, also including visual presentations as it pertains to the performing arts like drama, dance and mime, as well as the usage of visual illustrations. In conclusion, practical guidelines accompanied by concrete sermons within the three categories of visual preaching as it is suggested in this study, namely the visual image sermon, which concentrates on visual images on a flat surface or screen, the visual presentation sermon, which accomodates visual methaphores as it is presented by the visual arts and illustrations on a stage in the liturgical area, and the visual imagination sermon, which interacts with the human imagination by the use of visual methaphorical language, are submitted. / Thesis (PhD)--University of Pretoria, 2010. / Practical Theology / unrestricted