Responses to the terrorist attacks of September 11, 2001 came in many forms - political, social, cultural, and military. The events of that day shaped the first decade of the 21st century, and continue to have enormous resonance worldwide. This research project examines a particular aspect of the response to September 11 – the literary one, and more specifically, New York fiction. However, in conducting this research it became apparent that the effect of these traumatic events deeply scarred writers, and their writing, and the process of creating fiction about New York was one which was threatened by the enormity of the events. Also, these texts seemed to be in dialogue with other forms of responses to the events in other media. The sense of a community coming together to examine the wound that had been received was strong in New York after the attacks, and that same spirit of coming together could be seen in works that could be labelled as “Post 9/11”. These included comics and graphic novels, artworks, and projects like The Sonic Memorial. This thesis will consider the relationship between these some of works in order to highlight some of the most important aspects of the literary and cultural response. The introduction sets out the historical context and establishes the texts and artworks which will be examined, giving an overview of the research. The first chapter looks at Jonathan Safran Foer’s novel Extremely Loud and Incredibly Close (2005) and Art Spiegelman’s comic In the Shadow of No Towers (2004). It argues that text and image exist in an uneasy relationship in these works, replicating both the lack of comprehension of the events and gaps in memory or expression that emerged through the retelling of the events of September 11. This is one response to the difficulties that come with the attempt to express trauma through narrative, particularly when the political and historical circumstances being described are so complex, and the emotions that surround the event are so raw. The second chapter considers the controversial relationship between performance, art, and acts of terror in Don DeLillo’s novel Falling Man and Gerhard Richter’s October 18, 1977 cycle of artworks. The final chapter explores narrative and testimony in Paul Auster’s novel Man in the Dark and The Sonic Memorial Project, which gathered sounds and reminiscences related to the Twin Towers and September 11. The methodology of considering fiction alongside other modes of response is embedded in the structure of the thesis, with each chapter exploring a major novel alongside a related artwork or narrative. This mirrors the cacophonous and varied responses to 9/11, but also captures something of the way in which the reaction to the trauma brought sometimes distinct and separate people, voices and perspectives together in the spirit of sharing experiences and perspectives. It is concluded that the act of creating a piece of literature, artwork, or another kind of narrative, about September 11 is often confronted by the traumatic nature of the events, and that many responses to them internalised this problem, becoming as much about the nature of trauma, and how it makes certain memories and thoughts extremely difficult to express, at least in a way that is equal to the emotion involved. September 11 poses a challenge to artists that is much wider than the problem of representing the event itself. It asks artists and writers to consider how one can represent a traumatic and widely witnessed event, and whether world-changing events require an upheaval of literary and artistic conventions. It also questions the role of the writer or artist in the face of what Don DeLillo described as ‘all that howling space’. The thesis concludes that the strategy employed by most of the works examined here is to use unconventional methods to construct a memorial to those lost, but to do so in a way that involves the reader, bringing them into the events, but also pointing to the process of creating a post-9/11 artwork, and the difficulties inherent in it. This maintains the long established tradition of metafiction in New York fiction, demonstrating that these are works that do not seek a complete break with the past, but bring a new raw edge of tragedy and trauma into the metafiction. In this way formal play, and the attention to the process of creating a text or artwork becomes a means of representing the trauma of the event, and the trauma of creating literature and art about it. The metafictional aspects therefore become a means of cathartically approaching the site of the wound. This is perhaps why so much post 9/11 fiction remains either controversial or divides critics. It looks at both the event and its own processes. Whether or not this is satisfying to the reader, or the critic, it does point to the anxieties felt by writers and the wider creative community in the wake of 9/11.

NOVOTNÁ, Monika. Graphic sign in context of school and town. Prague, 2014.Thesis. Charles University in Prague, Faculty of Education, Department of Fine Arts. Supervisor Mgr. Helena Kafková, 90 pages. In the theoretical part I focus on a sign, the graphical sing. I sort out its forms. I present the sing as a nonverbal system of communication and a way of labelling objects. I search for the connections and contradictions of the existence of legal [traffic signs, orientation signs, signboards] and illegal graphic signs [graffiti and street art] in the public space. In the didactic part I suggest and realize the art projects where some technics of graffiti and street art are used. The artistic themes: SING - LETTER - PICTOGRAM - PUBLIC SPACE are processed at my art lessons at both primary and secondary schools. We discuss the meaning of these words in the public space. The part of the thesis is a research study among the pupils of a primary and secondary school which tries to point at either different or the same art perceptions by the pupils and their mental constructions of these. There I try to connect the street art and graffiti with the topics of private property, vandalism and personal attitudes versus the state and society. I offer to the children the question of personal freedom of an...

Made available in DSpace on 2016-04-28T19:34:25Z (GMT). No. of bitstreams: 1 Eunice Aparecida de Aguiar.pdf: 3240081 bytes, checksum: ea5c18f6e62d8d801f8c842d9d1700f1 (MD5) Previous issue date: 2008-05-05 / Secretaria da Educação do Estado de São Paulo / The research documented in this Dissertation is linked to the research line History and Description of the Portuguese Language, of the Post-Graduate Studies in Portuguese Language Program/PUCSP, and describes the use of lexical and grammatical resources that, associated to image, are responsible for the investment of the discursive textuality inserted in the records of advertising texts. Grounded in the Textual Linguistics of the interactive socio-cognitive branch, the general purpose of the investigation was restricted to the search of knowledge capable of enabling the knowledge and command of the proficient use of these resources which are responsible for the reconstruction, re-categorization of the models of representation of "things" in the business world, configured by a way of talking that is capable of assuring the functioning of these texts as a support of the world of sales and purchases of manufactured products. This purpose was developed in three specific purposes by means of which it was possible to develop and organize each one of the chapters of the research. The first one s main topic was the study of the contents condensed by predications of the vocabulary ground of the term communication in order to differentiate it as a means of transmitting signs and interactive actions amongst human beings, aiming at transmitting new information, new world knowledge. The bibliographic review of discoveries and inventions is the ground and support of distance communication, and it is owed to techno-science the invention of instruments capable of enhancing the transmission means that, today, work as support of the organization of the modern social-cultural formations. It was also possible to consider that the materiality of the human communications has always carried the hybridism of signals systems as resources to materialize their world representations and speech manners. The second chapter is turned to records of theoretical grounds that enabled the development and organization of an analytical procedure, by means of which it was possible to consider the different production strategies that are responsible for the selection, organization and combination of these hybrid resources that allow building, by means of words-image, a new version of the world, representing and saying this new world, whose focus is on products of an industry that aims at standardization. In this manner, the function of the advertisement speech is to produce texts capable of creating differences where there is only similarities, and, for that, the producer makes use of different strategies: a) cognitive: supported by projections, identities and transfers; b) discursive textual: supported by the creation of a dreamy scenario, humanized produced by photographic assembly, regained by intertextuality and interdiscursivity strategies, in which hiding the author of the text itself is predominant - in it, the voice of the artisan-artist is an echo of the voice of the industry owner and the elements that are responsible for the manufacture of the products, given the similarity that exists amongst them all. These blanks ensure the attribution of magical properties to the products, stated by a means of saying where they are objects of dreams and desires turning into reality and, for that, it is only necessary to know how to select them amongst their similar products, do that the reader becomes a healthy, happy, man This magic from word image is supported by reframing strategies that build the duplicity of reality, by means of an intersection spot with collectivity. For that, the producer makes use of resources from both codification systems to present, describe, compare, explain and guide his choices of purchases. Therefore, these resources are employed in order to build magic representations supported by arguments, whose ground is the analogy / A pesquisa registrada nesta Dissertação está vinculada à linha de pesquisa História e Descrição da Língua Portuguesa, do Programa de Estudos Pós-Graduados em Língua Portuguesa/PUCSP, e tematiza o uso de recursos léxico-gramaticais que, associados à imagem, respondem pelo investimento da textualidade discursiva inscrita nos registros de textos de propagandas. Fundamentada na Lingüística Textual da vertente sócio-cognitivointerativa, o objetivo geral da investigação circunscreveu-se à busca de conhecimentos capazes de facultar o conhecimento e domínio do uso proficiente desses recursos que respondem pela reconstrução, recategorização dos modelos de representação das coisas no mundo dos negócios, configurados por um modo de dizer capaz de assegurar o funcionamento desses textos como suporte do mundo de vendas e compras de produtos industrializados. Esse objetivo foi desdobrado em três objetivos específicos por meio dos quais se buscou desenvolver e organizar cada um dos capítulos da pesquisa. O primeiro teve por ponto de partida o estudo dos conteúdos condensados por predicações da base vocabular do termo comunicação para diferenciá-la como meio de transmissão de sinais e ações interativas entre os humanos, com vistas a transmitir novas informações, novos conhecimentos de mundo. A revisão bibliográfica de descobertas e inventos que qualificam a Civilização do Oral e da Escrita possibilitou considerar que a escrita se faz fundamento e fundação da comunicação a distância, devendo-se à técno-ciência a invenção de instrumentos capazes de aprimorar os meios de transmissão que, hoje, funcionam como suporte da organização das formações sócio-culturais modernas. Pôde-se, ainda, considerar que a materialidade das comunicações humanas sempre teve o hibridismo de sistemas de sinais como recursos para materializar suas representações de mundo e seus modos de dizer. O segundo capítulo esteve voltado para registros de fundamentos teóricos que possibilitaram desenvolver e organizar um procedimento analítico, por meio do qual foi possível considerar as diferentes estratégias de produção que respondem pela seleção, organização e combinatória desses recursos híbridos que possibilitam construir por palavras-imagem uma nova versão de mundo, representar e dizer esse outro mundo, cujo foco são produtos de uma indústria que visa à padronização. Assim, a função do discurso da propaganda é produzir textos capazes de criar diferenças onde há apenas similaridades e, para tanto, o produtor enunciador faz uso de diferentes estratégias: a) cognitivas: sustentadas por projeções, identidades e transferências; b) textuais discursivas: sustentadas pela criação de um cenário onírico, humanizado produzido por montagem fotográfica, retomado por estratégias de intertextualidade e interdiscursividade, em que predomina o ocultamento da autoria do próprio texto nele a voz do artista-artesão se faz eco da voz do proprietário da indústria e dos elementos que respondem pela fabricação dos produtos, em razão da similaridade existente entre todos eles. Esses apagamentos asseguram atribuir ao produto propriedades mágicas, asseveradas por um modo de dizer em que eles se fazem objetos de realização de sonhos e desejos e, para tanto, basta saber selecioná-los dentre seus similares, para que o co-enunciador leitor se transforme em um homem saudável, feliz, realizado... Essa magia das palavras-imagem tem por suporte estratégias de reenquadramento que constroem a duplicidade do real, por um ponto de interseção com o imaginário coletivo. Para tanto, o produtor enunciador faz uso de recursos desses dois sistemas de codificação para apresentar, descrever, comparar, explicitar e orientar suas escolhas de compras. Esses recursos são, portanto, empregados para construir representações mágicas sustentadas por argumentos, cujo suporte é a analogia

Abstract This thesis attempts to contribute to both intermedial studies and F. Scott Fitzgerald scholarship by studying the text-illustration interplay in two versions of “The Rich Boy”. Intermediality, which pays close attention to media interactions, is a natural method to explore the word-image relations in these texts: the first version, published in Red Book Magazine in 1926, and an illustrated Spanish translation from 2012.             Lars Elleström’s definition of media as a combination of modes and modalities, plays a central role in the analysis, where I study how these interact in each text: For instance, in terms of the material and sensorial modalities, both illustrators try to simulate depth and convey the senses in a flat interface. In terms of the spatiotemporal modality, the anachronies in the time placement of Gruger’s images intensify the nostalgic mood in the text, while Ágreda’s adherence to the text’s time relays a certain autonomy. Both their treatments of space are often symbolic; thus, regarding the semiotic modality, the images are symbolic besides iconic. Each text is colored by the reading of the illustrator, who is also a reader and interpreter.             The theoretical framework also comprises of an approach to nostalgia: While Fitzgerald’s story is nostalgic per se, the illustrators display variations of nostalgia: Gruger’s work mirrors and enhances the nostalgic mood of the text, and while to a certain extent, Ágreda’s also does this, his nostalgia is most manifest in how he attempts to recreate a particular picture of the Jazz Age.

[pt] A invenção do fotolivro de literatura pode sugerir, enganosamente, que nosso principal interesse aqui é histórico-documental – uma tese sobre o surgimento desse fenômeno que é híbrido, expandido, intermidiático. Não é o caso. Há aqui, uma ambição teórica: prover um cenário para sua observação e, a partir daí, estabelecer um padrão disciplinado de atividade capaz de colocá-lo em perspectiva histórica . Como estão relacionados poesia (ou prosa) e fotografia em fotolivros de literatura? Nós exploramos a ideia de que sistemas (ou processos) verbais e fotográficos combinam-se numa forma de interação que não é apenas bidirecional, mas que envolve influências modulatórias que conectam palavra e imagem, para um leitor ou intérprete, situado historicamente. Como caracterizar, ou definir, este processo? Sobre esse tópico, ainda há pouca publicação, embora o tema comece, recentemente, a exibir muitos resultados. Na ausência de uma literatura crítica consolidada sobre fenômenos literários híbridos, ou expandidos, envolvendo fotografia, parece-nos uma boa ideia situar o fotolivro de literatura em áreas já existentes: Estudos de Intermidialidade e Semiótica. Dedicamos alguma atenção aos modelos, teorias e terminologias, disponíveis nestas áreas, para explicar o fenômeno observado - relação entre texto verbal (poesia ou prosa) e fotografia. Este é o núcleo desta pesquisa. A tese está dividida em três partes: (i) definição, caracterização e relevância do fenômeno fotolivro de literatura; (ii) terminologias e modelos utilizados para descrever as relações entre poesia, ou prosa, e fotografia; (iii) análise das complexas relações palavra-imagem em fotolivros de literatura produzidos no Brasil no século XX: Os Sertões (1902), com texto de Euclides da Cunha e fotografias de Flávio de Barros; A Pintura em Pânico (1943), com texto e fotomontagens de Jorge de Lima; Quarenta Clics em Curitiba (1976), com texto de Paulo Leminski e fotografias de Jack Pires; Sertões: Luz e Trevas (1982), com fotografias de Maureen Bisilliat e fragmentos de Os Sertões, de Euclides da Cunha. / [en] The invention of the literary photobooks may misleadingly suggest that our main interest here is historical-documentary, a thesis on the emergence of this phenomenon, which is hybrid, expanded, intermedial. It s not the case. Here, there is a theoretical ambition: to provide a setting for its observation and, from there, to establish a disciplined pattern of activity capable of placing it in a historical perspective . How are poetry (or prose) and photography related in literary photobooks? We explore the idea that verbal and photographic systems (or processes) combine into a form of interaction that is not only bidirectional, but involves modulatory influences that connect word and image, for a historically situated reader. How can we characterize, or define, this process? On this topic, there are few publications, although it has recently started to show quite robust results. In the absence of a consolidated critical literature on hybrid literary phenomena involving photography, it seems to us a good idea to situate the literary photobooks in existing areas: Intermedial Studies and Semiotics. We devote a close attention to the study of models, theories and terminologies, available in these areas, to explain the phenomenon observed – the relationship between verbal text (poetry and/or prose) and photography, in photobooks. This is the core of this work. This thesis is divided into three parts: (i) definition, characterization and relevance of the literary photobooks phenomenon; (ii) terminologies, theories and models – used to describe and analyze the relationships between poetry/prose and photography, in the observed phenomenon; (iii) analysis of word-image complex relationship in literary photobooks produced in Brazil in the 20th century. Among those selected are: Os Sertões (1902), text by Euclides da Cunha and photographs by Flávio de Barros; Pintura em Pânico (1943), text and photomontages by Jorge de Lima; Quarenta clics em Curitiba (1976), text by Paulo Leminski and photographs by Jack Pires; Sertões: Luz and Trevas (1982), photographs by Maureen Bisilliat and fragments of Os Sertões, by Euclides da Cunha.

Over 40% of the more than 100 million people displaced worldwide are children (UNHCR, 2023). Multicultural literature is used in classrooms to provide representation to and build empathy for children with diverse backgrounds. Books featuring refugee characters and experiences are increasing. The complexity of identities represented in these books is dominated by common tropes of trauma, helplessness, and a perilous journey. Identity complexities remain neglected in multicultural research. The emerging theory of RefugeeCrit forefronts authentic understanding of refugee experiences and complex identities (Strekalova-Hughes, 2019).This study undertakes a critical content analysis of three refugee-themed children’s books. By applying two critical visual methodologies—in constant conversation with RefugeeCrit—I analyzed how trauma, helplessness, agency, the journey, and anti-essentialized complex identities were represented. These tropes were embedded in the books explicitly and through implied interpretation, but glimpses of complex identities were also shown in original interactions between word and image. The results show the potential of RefugeeCrit to extract problematic representations and the continued importance of critical evaluations of representations in refugee-themed literature.

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No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese versão final Margareth Mattos.pdf: 12248873 bytes, checksum: 52f03d571242288d0da107fc56235306 (MD5) / Universidade Federal Fluminense, Colégio Universitário Geraldo Reis - COLUNI, Niterói, RJ / Esta pesquisa de caráter qualitativo e interdisciplinar vinculada à área de Estudos de Linguagem tem como principal objetivo investigar os modos de renovação de diferentes contratos de comunicação literários correspondentes às edições mais recentes de três textos, dois do gênero conto – Conto de escola de Machado de Assis e De cima para baixo de Artur Azevedo – e um do gênero crônica – Será o Benedito! de Mário de Andrade –, produzidos entre o último quartel do século XIX e a primeira metade do século XX. Nessas edições mais recentes, os textos exclusivamente verbais de autores-escritores brasileiros canônicos transformam-se em textos híbridos verbo-visuais pelo trabalho dos autoresilustradores Nelson Cruz, Marcelo Ribeiro e Odilon Moraes, e pela iniciativa dos editores. Com base nos pressupostos da Teoria Semiolinguística de Análise do Discurso, eixo teórico-metodológico desta pesquisa, e, subsidiariamente, nos estudos dos paratextos editoriais, na Semiótica da imagem visual, bem como nos estudos da interação palavraimagem no livro ilustrado e no livro com ilustração, pretende-se demonstrar como esses textos, reeditados na primeira década do século XXI, com ilustrações de autoresilustradores brasileiros consagrados, integram contratos de comunicação literários que se renovam. A hipótese é a de que a ocorrência de tal processo de renovação deve-se, principalmente, à transformação dos textos verbais em textos híbridos verbo-visuais; à redefinição dos parceiros iniciadores do processo de produção da encenação narrativa com a inclusão dos autores-ilustradores; à redefinição dos parceiros do processo de interpretação da encenação narrativa com a inclusão do leitor criança, em virtude de sua inscrição nos textos híbridos como leitor destinatário, inscrição essa não prevista nos contratos anteriores; à intensificação dos efeitos de sentido visados a partir tanto da conformação dos paratextos editoriais, que constituem a mise-en-scène material e discursiva dos livros correspondentes aos contratos de comunicação renovados, quanto da interação entre as partes verbal e visual dos textos. Com isso, os livros correspondentes aos contratos de comunicação literários renovados estariam identificados com a literatura de potencial destinação infantil / This paper of qualitative and interdisciplinary nature linked to the area of Language Studies has as its main objective the investigation of the renewal ways of different literary contracts of communication corresponding to the most recent editions of three texts, two short stories – Conto de escola by Machado de Assis and De cima para baixo by Artur Azevedo – and one chronicle – Será o Benedito! by Mário de Andrade –, written between the last quarter of the 19th century and the first half of the 20th century. In these most recent editions, the exclusively verbal texts of canonical Brazilian writer-authors are transformed into verbal-visual hybrid texts by the work of illustrator-authors such as Nelson Cruz, Marcelo Ribeiro and Odilon Moraes, and by the editors’ initiative. Based on the assumptions of the Semiolinguistic Theory of Discourse Analysis, which is the theoretical-methodological framework of this investigation, and also based, in a subsidiary way, on the studies of the editorial paratexts, on the Semiotics of the visual image, as well as on the studies of the word-image interaction in picturebooks and in the book with illustration, this paper intends to demonstrate how these texts, reprinted in the first decade of the twenty-first century, with illustrations by acclaimed Brazilian illustrator-authors, integrate literary contracts of communication that are renewed. The hypothesis is that the occurrence of this renewal process is mainly due to the transformation of the verbal texts into hybrid verbal-visual texts; the redefinition of the initiating partners of the production process of the narrative staging by including the illustrator-authors; the redefinition of the partners of the process of interpretation of the narrative mise-en-scène by including children readers, because of their integration in the hybrid texts as target readers, a hypothesis which was not incorporated in the previous contracts; the intensification of meaning effects aimed at both the conformation of the editorial paratexts, which constitute the material and discursive mise-en-scène of the books corresponding to the renewed contracts of communication, and the interaction between the verbal and visual parts of the texts. Thus, the books corresponding to the renewed literary contracts of communication would be identified as literature potentially targeted for children readers

Notre hypothèse est que la réflexion de Diderot dans les Salons ne porte pas tant sur l’image que sur le langage : la confrontation avec les œuvres d’art l’oblige à questionner la langue. Traduire l’image permet d’expérimenter les limites expressives de la langue, de saisir ses conditions d’apparition, son origine. La présente étude se donne trois objectifs principaux. Remettre les Salons au cœur des pratiques d’écriture des salonniers. La critique d’art est à envisager non seulement au regard des idées nouvelles défendues par les salonniers, mais aussi de leurs expérimentations formelles. En examinant les textes antérieurs et postérieurs aux Salons se dessine la genèse de la critique d’art comme genre littéraire. À l’autre extrémité des influences, cette étude explore les Salons en les plaçant au cœur de l’ensemble de l’œuvre de Diderot. Diderot y approfondit ses intuitions théâtrales et esthétiques, développe ses thèses sensualistes et matérialistes, sa philosophie morale, ses idées politiques et physiologiques, affine sa conception de la langue. Les Salons l’accompagnent dans son cheminement intellectuel et dépassent le commentaire des œuvres exposées. La critique d’art est laboratoire d’écriture et de pensée. Plus encore, sa critique d’art pose avec une acuité toute particulière l’un des grands problèmes du tournant des Lumières : le conflit naissant entre nature et culture, dont le langage devient l’un des lieux d’interrogation privilégié. C’est à la question du langage que nous avons choisi de nous intéresser, parce que ses fonctions sont emblématiques des tensions du texte. Le langage peut servir à communiquer avec les autres, à échanger. Mais il a également la capacité de figurer, de créer une image dans l’esprit. Il permet enfin de s’interroger sur lui-même. Une involution semble poindre dans les Salons : c’est à partir des discours sur l’art comme lieux de sociabilité que Diderot réfléchit à la langue originelle. / My thesis is entitled “La mise en question du langage dans les Salons de Diderot”. It aims at showing that Diderot’s art critic does not focus so much on image than on language, or more precisely on the fact that, when looking at a painting, Diderot is compelled to question language. In the Salons, he tries to make pictures arise from words and to give speech and voice to images. Three aspects of the relationships between image and language arise, and make up the three parts of my thesis. First of all, Diderot talks about the paintings of the Louvre’s exhibitions. The Salons are part of Grimm’s Correspondance littéraire, whose subscribers are all members of European monarchies. While he depicts paintings, Diderot always keeps in mind that these very urbane readers expect to be entertained. Speech about art need to remain close to playful conversation in order to entertain the elite. I studied Diderot’s borrowings from other art critics, thanks to the “Collection Deloynes” in which are gathered all texts from the eighteenth century about the Louvre’s exhibitions. Working on this collection enable me to prove Diderot’s influence on evolution of art criticism considered as a literary genre. The second part of my thesis focuses on the language of image. Diderot also tries to invent a language that imitates image, whose structure and phrasal progression match the dynamic of the painting. He adapts his writing to pictures until he reaches sometimes the limits of syntactic structure. Finally, Diderot questions the ability of words to convey images, which lead him to a metalinguistic reflection. Paintings are perceived as a gestural form of language which gives clues to understand the origins of language. My research consists in proving that there is a kind of “involution” of language in Diderot’s art critic. Whereas evolution led language from nature to urbanity, in the Salons, being confronted to images, Diderot seems to go the way back, from urbanity to nature.

No description available.