Esta tese tem como foco de estudo as narrativas visuais sobre a Guerra Sertaneja do Contestado (Brasil 1912-1916). Trata-se de um importante fato para História do estado de Santa Catarina e para o Brasil, o qual é apresentado através de imagens por diversos artistas. O objeto de pesquisa constituiuse a partir do levantamento da produção visual sobre esta temática. Buscou-se problematizar como imagens artísticas que tematizam a Guerra Sertaneja do Contestado controem esse acontecimento histórico através de suas narratividades e alegorias visuais e que significados desse acontecimento elas produzem. O referencial teórico abarca autores do ensino da arte, da cultura visual e da História Cultural para refletir, a partir das imagens presentes no corpus documental sobre a Guerra Sertaneja do Contestado, de que maneira elas (re) constroem alegórica e narrativamente esse fato. A metodologia envolveu contato com artistas e instituições responsáveis pela guarda das obras. Foram obtidos dados biográficos e recolhido o material imagético (fotográfica/digitalmente) sendo compilado e organizado para estudo das possibilidades reflexivas oferecidas pelas imagens, considerando ainda as referências para sua produção (livros ou imagens que as originaram), bem como os seus processos artísticos. O levantamento resultou em doze artistas e um número superior a mil obras (de 1912 a 2011), possibilitando informações importantes sobre sua trajetória, bem como a organização de um significativo acervo que tem como tema a Guerra Sertaneja do Contestado A análise desta ampla e variada produção artística enfocou os seguintes assuntos narrativos: Aspectos gerais (região do Contestado, paisagem e ambientes); Personagens (e suas ligações com o conflito); Contexto da Guerra: organização e Ações militares contra os redutos e Desfecho do episódio. Os resultados apontam que a reiterada veiculação de imagens nos materiais que tratam sobre o acontecimento apresenta disparidades, principalmente quanto à sua utilização, meramente como recurso editorial ou para aludir ao fato, sem preocupação reflexiva. Concluiu-se que utilizando variadas referências imagéticas, linguagens, estilos e processos criativos, os artistas construíram diferentes efeitos de sentido, possibilitando a reconstrução da História da Guerra Sertaneja do Contestado sob distintas formas alegóricas e narrativas. / This thesis focuses on the study of visual narratives about the Guerra Sertaneja do Contestado (Brazil 1912-1916) (the backcountry war in the area of Contestado), an important historical event for the constitution of the state of Santa Catarina and for the Brazil This episode was the subject matter for many artists. Hence the need for a survey of the visual production about this theme. What the visual narratives tell about the Contestado War, how they “show” it, and which meanings they construct are the main questions faced in this research. Its theoretical framework includes authors from the art studies, visual culture and cultural history, with the aim to think about how the images that are part of the documental body on this war (re)construct this fact. All the biographical information and the images (photographs taken on the field and/or acquired through the Web) were obtained through a close exchange with the artists and the institutions responsible for their art works’ preservation. They were then compiled and organized for the study of the reflective possibilities offered by the images themselves, taking in account the possible references for its production (books and/or other images), and for the analysis of its own processes. This survey resulted in a group of twelve artists and in a body of works of more than a thousand items (1912 to 2011), a veritable art collection on the theme of the Contestado War. The analysis of this ample and variegated art production focused on the following themes: General Aspects (the Contestado area, landscape and natural and social environment); Main Characters (and their role in the conflict); War Context: The Organization And The Military Actions Against The Strongholds; and Outcome of the Episode The results show that the diffusion of the images about the war, in the books that treat the theme, shows disparities, especially when they are used as a simple layout resource/editorial expedient or as a vague allusion to the episode without any reflective concern. The analysis of the art processes has made possible many interesting inferences and reflections. With the support of numerous images, the research concluded that the artists’ different idioms, styles and creative processes constructed different effects and meanings, making possible the reconstruction of the Contestado War under different allegorical and narrative forms.

The purpose of this study is to find out how teachers work with fairytales in preschools raising several questions; How would the teachers describe the literary environment at the preschools? What does theory say about the literary environment? What type of fairytales do the teachers perceive that they work with? How does theory describe these fairytales? What is the underlying purpose for teachers working with fairytales? What purposes are described in theory? My study is based on qualitative interviews conducted with three teachers working in preschool in a small town. The study is based on hermeneutic theory.  I have also used other theory to complete the study.          The teachers all see the possibility of using storytelling as a means to developing the children´ s vocabulary. Some of the teachers also use books and stories as a way of indirectly addressing ongoing personal problems.                                                                                                       The results of my study show that fairytales can be a valuable tool for personal development for children. Working with fairytales could be crucial to how children develop their curiosity and desire to learn and manage ongoing traumas in their lives. My study also raises questions that might be interesting to discuss in a future not so far from now; should teachers be more aware of their important therapeutic role when choosing fairytales?

This report is a chronicle of my research and design practice at The University of Texas at Austin in pursuit of the MFA in Design. It traces my interest in visual narrative, specifically in the component relationships evident in a close study of comics as they relate to questions of dimensionality and form. Key elements in this trajectory include the application of humor, sequential illustration, paper engineering and the adaptation of texts to works of visual and dimensional narrative. Along with a documentation of my working methods and experience, an appropriately distilled version of my extensive study of literature, comics, diorama, and pop-up books can be found in the following pages. / text

Esta tese tem como foco de estudo as narrativas visuais sobre a Guerra Sertaneja do Contestado (Brasil 1912-1916). Trata-se de um importante fato para História do estado de Santa Catarina e para o Brasil, o qual é apresentado através de imagens por diversos artistas. O objeto de pesquisa constituiuse a partir do levantamento da produção visual sobre esta temática. Buscou-se problematizar como imagens artísticas que tematizam a Guerra Sertaneja do Contestado controem esse acontecimento histórico através de suas narratividades e alegorias visuais e que significados desse acontecimento elas produzem. O referencial teórico abarca autores do ensino da arte, da cultura visual e da História Cultural para refletir, a partir das imagens presentes no corpus documental sobre a Guerra Sertaneja do Contestado, de que maneira elas (re) constroem alegórica e narrativamente esse fato. A metodologia envolveu contato com artistas e instituições responsáveis pela guarda das obras. Foram obtidos dados biográficos e recolhido o material imagético (fotográfica/digitalmente) sendo compilado e organizado para estudo das possibilidades reflexivas oferecidas pelas imagens, considerando ainda as referências para sua produção (livros ou imagens que as originaram), bem como os seus processos artísticos. O levantamento resultou em doze artistas e um número superior a mil obras (de 1912 a 2011), possibilitando informações importantes sobre sua trajetória, bem como a organização de um significativo acervo que tem como tema a Guerra Sertaneja do Contestado A análise desta ampla e variada produção artística enfocou os seguintes assuntos narrativos: Aspectos gerais (região do Contestado, paisagem e ambientes); Personagens (e suas ligações com o conflito); Contexto da Guerra: organização e Ações militares contra os redutos e Desfecho do episódio. Os resultados apontam que a reiterada veiculação de imagens nos materiais que tratam sobre o acontecimento apresenta disparidades, principalmente quanto à sua utilização, meramente como recurso editorial ou para aludir ao fato, sem preocupação reflexiva. Concluiu-se que utilizando variadas referências imagéticas, linguagens, estilos e processos criativos, os artistas construíram diferentes efeitos de sentido, possibilitando a reconstrução da História da Guerra Sertaneja do Contestado sob distintas formas alegóricas e narrativas. / This thesis focuses on the study of visual narratives about the Guerra Sertaneja do Contestado (Brazil 1912-1916) (the backcountry war in the area of Contestado), an important historical event for the constitution of the state of Santa Catarina and for the Brazil This episode was the subject matter for many artists. Hence the need for a survey of the visual production about this theme. What the visual narratives tell about the Contestado War, how they “show” it, and which meanings they construct are the main questions faced in this research. Its theoretical framework includes authors from the art studies, visual culture and cultural history, with the aim to think about how the images that are part of the documental body on this war (re)construct this fact. All the biographical information and the images (photographs taken on the field and/or acquired through the Web) were obtained through a close exchange with the artists and the institutions responsible for their art works’ preservation. They were then compiled and organized for the study of the reflective possibilities offered by the images themselves, taking in account the possible references for its production (books and/or other images), and for the analysis of its own processes. This survey resulted in a group of twelve artists and in a body of works of more than a thousand items (1912 to 2011), a veritable art collection on the theme of the Contestado War. The analysis of this ample and variegated art production focused on the following themes: General Aspects (the Contestado area, landscape and natural and social environment); Main Characters (and their role in the conflict); War Context: The Organization And The Military Actions Against The Strongholds; and Outcome of the Episode The results show that the diffusion of the images about the war, in the books that treat the theme, shows disparities, especially when they are used as a simple layout resource/editorial expedient or as a vague allusion to the episode without any reflective concern. The analysis of the art processes has made possible many interesting inferences and reflections. With the support of numerous images, the research concluded that the artists’ different idioms, styles and creative processes constructed different effects and meanings, making possible the reconstruction of the Contestado War under different allegorical and narrative forms.

Esta tese tem como foco de estudo as narrativas visuais sobre a Guerra Sertaneja do Contestado (Brasil 1912-1916). Trata-se de um importante fato para História do estado de Santa Catarina e para o Brasil, o qual é apresentado através de imagens por diversos artistas. O objeto de pesquisa constituiuse a partir do levantamento da produção visual sobre esta temática. Buscou-se problematizar como imagens artísticas que tematizam a Guerra Sertaneja do Contestado controem esse acontecimento histórico através de suas narratividades e alegorias visuais e que significados desse acontecimento elas produzem. O referencial teórico abarca autores do ensino da arte, da cultura visual e da História Cultural para refletir, a partir das imagens presentes no corpus documental sobre a Guerra Sertaneja do Contestado, de que maneira elas (re) constroem alegórica e narrativamente esse fato. A metodologia envolveu contato com artistas e instituições responsáveis pela guarda das obras. Foram obtidos dados biográficos e recolhido o material imagético (fotográfica/digitalmente) sendo compilado e organizado para estudo das possibilidades reflexivas oferecidas pelas imagens, considerando ainda as referências para sua produção (livros ou imagens que as originaram), bem como os seus processos artísticos. O levantamento resultou em doze artistas e um número superior a mil obras (de 1912 a 2011), possibilitando informações importantes sobre sua trajetória, bem como a organização de um significativo acervo que tem como tema a Guerra Sertaneja do Contestado A análise desta ampla e variada produção artística enfocou os seguintes assuntos narrativos: Aspectos gerais (região do Contestado, paisagem e ambientes); Personagens (e suas ligações com o conflito); Contexto da Guerra: organização e Ações militares contra os redutos e Desfecho do episódio. Os resultados apontam que a reiterada veiculação de imagens nos materiais que tratam sobre o acontecimento apresenta disparidades, principalmente quanto à sua utilização, meramente como recurso editorial ou para aludir ao fato, sem preocupação reflexiva. Concluiu-se que utilizando variadas referências imagéticas, linguagens, estilos e processos criativos, os artistas construíram diferentes efeitos de sentido, possibilitando a reconstrução da História da Guerra Sertaneja do Contestado sob distintas formas alegóricas e narrativas. / This thesis focuses on the study of visual narratives about the Guerra Sertaneja do Contestado (Brazil 1912-1916) (the backcountry war in the area of Contestado), an important historical event for the constitution of the state of Santa Catarina and for the Brazil This episode was the subject matter for many artists. Hence the need for a survey of the visual production about this theme. What the visual narratives tell about the Contestado War, how they “show” it, and which meanings they construct are the main questions faced in this research. Its theoretical framework includes authors from the art studies, visual culture and cultural history, with the aim to think about how the images that are part of the documental body on this war (re)construct this fact. All the biographical information and the images (photographs taken on the field and/or acquired through the Web) were obtained through a close exchange with the artists and the institutions responsible for their art works’ preservation. They were then compiled and organized for the study of the reflective possibilities offered by the images themselves, taking in account the possible references for its production (books and/or other images), and for the analysis of its own processes. This survey resulted in a group of twelve artists and in a body of works of more than a thousand items (1912 to 2011), a veritable art collection on the theme of the Contestado War. The analysis of this ample and variegated art production focused on the following themes: General Aspects (the Contestado area, landscape and natural and social environment); Main Characters (and their role in the conflict); War Context: The Organization And The Military Actions Against The Strongholds; and Outcome of the Episode The results show that the diffusion of the images about the war, in the books that treat the theme, shows disparities, especially when they are used as a simple layout resource/editorial expedient or as a vague allusion to the episode without any reflective concern. The analysis of the art processes has made possible many interesting inferences and reflections. With the support of numerous images, the research concluded that the artists’ different idioms, styles and creative processes constructed different effects and meanings, making possible the reconstruction of the Contestado War under different allegorical and narrative forms.

The artist discusses his Master of Fine Arts exhibition, entitled Family, Work, Land. The exhibit was mounted in Tipton Gallery in downtown Johnson City, TN, from February 22nd to March 11th, 2022. A public reception was held on the evening of March 4th . The exhibition consisted principally of four multimedia installations. Smith’s body of work is an interpretation of how stories that he often heard growing up are related to the Western North Carolina community in which his grandparents were living in the first quarter of the twentieth century. These works explore the interactions between people, how they support themselves, and the impact that working for the logging industry had on the family and the land around them.

La estructura visual es un elemento fundamental que un realizador tiene que tomar en cuenta al momento de construir el producto cinematográfico. En tal sentido, la estructura visual; que se conforma por componentes visuales básicos, entre los que están el espacio, la línea, la forma, el tono y el color; ha dado definitivamente personalidad y estilo a muchas películas a partir del criterio que el realizador, como Wes Anderson, maneja previamente con un estilo definido. Esta investigación analiza precisamente los componentes visuales que conforman la estructura visual con los que los personajes de "Fantastic Mr. Fox"(2009) y "Isle of Dogs"(2018) van generando una relación empática con el espectador. Para lo cual se realizó un análisis de los personajes principales de estas películas, como también de los aspectos visuales, en base a 27 frames de estos filmes, en los cuales se halló que los personajes tienen conflictos originados por sí mismos al carecer completamente del conocimiento de sus propias virtudes y defectos. De este modo, al relacionarse con su entorno, buscan la aceptación en otros personajes para sentir que alguien más los considera importantes. Asimismo, se identificó que visualmente, en la mayoría de casos, se logra reafirmar los sentimientos y las características que definen a los personajes en base a los componentes visuales que plantea Anderson. / The visual structure is a fundamental element that a filmmaker has to considerate when is building the film product. In this sense, the visual structure; which consists of basic visual components, among which are the space, the line, the shape, the tone and the color; has definitely given personality and style to many films based on the director’s criteria, like Wes Anderson, previously handles with a definite style. This research analyzes precisely the visual components that make up the visual structure with which the characters of "Fantastic Mr. Fox" (2009) and "Isle of Dogs" (2018) are generating an empathetic relationship with the spectator. For this purpose, an analysis was made of the main characters of these films, as well as the visual aspects, based on 27 frames of these films, in which it was found that the characters have conflicts originated by themselves completely a lack of knowledge of their own virtues and defects. In this way, by relating to their environment, they seek acceptance from other characters to feel that they are considered important by someone else. It was also identified that visually, in most cases, one manages to reassert the feelings and characteristics that define the characters based on the visual components that Anderson poses. / Trabajo de investigación

Esta investigación tiene como objetivo analizar las herramientas gráficas utilizadas para abordar temas de inclusión y diversidad en cómics de Marvel en los que un personaje reclame el título de un superhéroe ya existente con fines de inclusión. Bajo la hipótesis de que existe un uso recurrente de ciertas imágenes y herramientas gráficas al representar a minorías. Se analizaron cinco cómics bajo una muestra de máxima variabilidad de la diversidad representada: Spider-Man (raza), Captain Marvel (género) y Ms. Marvel (religión/etnia), sumando al personaje más antiguo, Hawkeye, y al más reciente, Captain Britain en Excalibur. Se generaron fichas de análisis centradas en la identificación de los elementos gráficos y narrativos del cómic, determinando las razones de su uso. Además, se realizaron entrevistas a especialistas, un artista actual de Marvel y una profesora universitaria. Se encontró una representación positiva del cuerpo femenino en cuatro de los títulos, aunque siguiendo cánones eurocentristas de belleza. Los cinco cómics de la muestra cuentan con personajes racialmente diversos. Sin embargo, su etnicidad es gráficamente ambigua en dos de ellos. Finalmente, en cuatro de los títulos se discuten de manera profunda las dificultades de las minorías representadas. A pesar de que existen herramientas gráficas y narrativas que son utilizadas de manera consistente, hay problemas en su implementación. Además, se identificó la importancia que tiene el cambio de nombre como herramienta narrativa en el paso de manto. En conclusión, es necesario que la diversidad sea clara gráficamente para que no sea ignorada, fortaleciendo los mensajes de la narrativa. / This research aims to analyze the graphic tools used to address topics related to social issues in Marvel comics in which a character claims the title of an existing superhero for inclusion purposes. Under the hypothesis that there is a recurring use of certain images and graphic tools when representing minorities. Five comics were analyzed under a sample of maximum variability of the represented diversity was used: Spider-Man (race), Captain Marvel (gender) y Ms. Marvel (religion/ethnicity), adding to them the oldest character, Hawkeye, and the most recent, Captain Britain. Using analysis cards, the graphic and narrative elements of the comics were identified and the reasons for its use were determined. In addition, interviews were conducted with specialists, a current Marvel artist and a university professor. A positive representation of the female body was found in four of the titles, although three were following Eurocentric beauty standards. The five comics in the sample feature racially diverse characters. However, their ethnicity is graphically ambiguous in two of them. Finally, in four of the titles the difficulties of the minorities represented are discussed in depth. Even though graphic and narrative tools of consistent use were identified, there are problems in their implementation. In addition, the relevance of the name change as a narrative tool in legacy heroes with shared titles was recognized. In conclusion, diversity needs to be graphically obvious so that it is not ignored, strengthening the messages of the narrative. / Trabajo de investigación

No description available.

‘ratio, is a new play that was conceived as a collaborative experiment to investigate the possibility of a playwright and designer co-authoring a script through their preferred mediums; written text and visual art. The final script document consists of both a written text and visual narrative text, asking the reader to create and interpret the story through both mediums. / text