Made available in DSpace on 2016-04-28T18:24:08Z (GMT). No. of bitstreams: 1 Sergio Roberto da Motta.pdf: 1557848 bytes, checksum: e0115bf4745af6f1d2158a283efea0e8 (MD5) Previous issue date: 2009-07-28 / Secretaria da Educação do Estado de São Paulo / In this study, I investigate the mediation of conventional and structural elements of comic strips, that is, the characteristic elements that compose the comic strips genre and their contributions to the reading comprehension process of a beginner and not a proficient reader. So this research is based on concepts of the use of image as proposed by Cagnin (1975), Gubern (1980) and Eisner (1999); and reading strategies used for reading texts as proposed by Coracini (1985); Ramos (1988); Kato (1985, 1986); Solé (1998) e Kleiman (2007).This research also makes some considerations on the teaching of English in Brazil in accordance to Leis das Diretrizes e Bases da Educação (LDB) and the Brazilian National Curriculum Parameters for the teaching of a Foreign Language, (PCN-LE, Brasil, 1998). I present a brief history of the Comic strips, considering Cagnin (1975); Gubern (1980); Eisner (1999) and McCloud (2005), I also review approaches to the comic strips as a didactic resource, in accordance to Vergueiro (2005) and Cortez (2007). To collect the data I adopt the Verbal Protocol methodology, as well as questionnaires administrated to the 7th grade students of a Government Elementary School, considered beginners in reading comprehension. The results revealed that the non proficient reader depends on the image language and on the elements of the comic genre to process his reading comprehension in English when the verbal language is not enough to that, what allows us suppose that the comic strips may bring contributions to the methodology of teaching and learning a foreign language / O presente trabalho tem por objetivo investigar como se processa a mediação dos elementos convencionais e estruturais da História em Quadrinhos, na promoção da compreensão escrita, em inglês, ao leitor iniciante. Para tanto esta pesquisa faz uma conceituação e breve histórico do gênero HQ, de acordo com Cagnin (1975), Gubern (1980) e Eisner (2001); fundamenta-se nos conceitos e estratégias de leitura de imagem, propostos por Cagnin (1975), Gubern (1980), Eisner (1999), McCloud (2005) e Vergueiro (2005), e nos conceitos e estratégias de leitura textual, conforme propostos por Coracini (1985); Ramos (1988); Kato (1985); Solé (1998); Kleiman (2007), entre outros. A pesquisa também se reporta ao ensino de Língua Inglesa (LI) no Brasil, de acordo com as prescrições das Leis das Diretrizes e Base da Educação (LDB) e dos Parâmetros Curriculares Nacionais para Ensino de Língua Estrangeira PCN-LE (Brasil, 1998), e consulta literatura que aborda a HQ como recurso didático, conforme Vergueiro (2005) e Cortez (2007). Para se obter os dados desta pesquisa optou-se por questionário e protocolo verbal aplicados a alunos de uma 7ª série do Ensino Fundamental, portanto leitores iniciantes em língua estrangeira (LE). Os resultados revelam que o leitor não proficiente apóia-se na linguagem imagética e nos elementos do gênero HQ para processar a compreensão escrita em língua inglesa na proporção em que a linguagem verbal não o faz, o que permite concluir que a HQ pode trazer contribuições para a metodologia do ensino de leitura em língua estrangeira

Cette thèse s’intéresse à la représentation écrite du « parler jeune » dans la bande dessinée. La représentation de la langue des jeunes dans la bande dessinée est intéressante pour diverses raisons : D’un point de vue sociétal, elle touche à la langue des adolescents qui depuis quelques années attire l’attention des sociolinguistes et du grand public. D’un point de vue linguistique, le « parler jeune » est représenté dans la bande dessinée qui est une forme d’expression très prisée en France, en comparaison avec le français standard et la norme de la langue française. Les résultats trouvés dans la recherche originale sont très importants en ce qui concerne le passage de l’oral à l’écrit. La recherche s’est faite sur le plan phonique en étudiant la manière dont la prosodie et l’intonation sont interprétées à l’écrit ; sur le plan lexical en examinant les mots du corpus ; sur le plan morphologique en analysant la formation des mots du corpus ; sur le plan syntaxique où le besoin d’être bref est présent mais aussi quelle richesse apporte l’utilisation des interjections et des onomatopées dans la bande dessinée. / This thesis deals the written representation of the youth language (slang) in comic books. The representation of the language of the young people in the comic books is interesting for various reasons: from a societal point of view, it relates with the language of the teenagers which for a few years has drawn the attention of the sociolinguists and the general public. From a linguistic point of view, youth language is represented in the comic books that are a form of expression very widespread in France, in comparison with standard French and the standard of French language. The results found in original research are very important with regard to the passage of the oral examination to the writing. Research was done at the phonic level by studying the way in which the prosody and the intonation are interpreted in written at the lexical level by examining the words of the corpus; on the morphological level by analyzing the formation of the words of the corpus; at the syntactic level where the need to be brief is present but also which wealth brings the use of the interjections and the onomatopoeias in the comic book.

The aim of the diploma thesis The Picture of a Journalist in the 20th century British novel is to map the space dedicated to characters of journalists in literature, the 20th century British novels in particular. Depiction of the journalistic characters is based on fifteen selected literary works within three different novel types - comic novel, detective novel and social-critical novel. Using a detailed analysis of a sum of both the narrative and the extra-literary elements the thesis compares various characters of male and female journalists appearing in the selected novels. It tries to compare the differences as well as the similarities within portrayals of journalists in different novel types. As a conclusion the thesis evaluates the overall picture of journalists in these works and attempts to trace any similarities or recurring trends in depiction of journalists in literature.

He, Xiao. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 196-202). / Abstracts in English and Chinese. / Abstract --- p.3 / Acknowledgement --- p.5 / Chapter Chapter 1 --- Introduction --- p.8 / Chapter 1.1 --- Who are the Cosplayers? --- p.13 / Chapter 1.2 --- Why Cosplay? --- p.15 / Chapter 1.3 --- Why Hong Kong? --- p.17 / Chapter 1.4 --- Research Questions --- p.19 / Chapter 1.5 --- The Background of Cosplay --- p.21 / Chapter 1.6 --- Cosplay Events in Hong Kong --- p.24 / Chapter 1.6.1 --- Large-scale commercial conventions --- p.25 / Chapter 1.6.2 --- Cosplay and dôjinshi events held by universities --- p.27 / Chapter 1.6.3 --- Small-scale privately organized photo-taking events --- p.28 / Chapter 1.7 --- How to Get the Costumes --- p.31 / Chapter 1.8 --- Literature Review --- p.33 / Chapter 1.8.1 --- Globalization and Localization --- p.33 / Chapter 1.8.2 --- Youth Subculture and Fandom Culutre --- p.36 / Chapter 1.9 --- Methodology --- p.39 / Chapter 1.9.1 --- In-depth Interview --- p.39 / Chapter 1.9.2 --- Participant Observation --- p.40 / Chapter 1.9.3 --- Media Studies --- p.43 / Chapter 1.9.4 --- Language --- p.44 / Chapter 1.10 --- Outlines of the Chapters --- p.45 / Chapter Chapter 2 --- The Japaneseness for the Cosplayers --- p.48 / Chapter 2.1 --- Emphasis on Japanese Originality --- p.48 / Chapter 2.2 --- Japanese Elements in their Cyberculture --- p.56 / Chapter 2.3 --- High Reputation for Japan --- p.61 / Chapter 2.4 --- "From ""Odorless"" to ""Japanese""" --- p.66 / Chapter 2.5 --- Summary --- p.70 / Chapter Chapter 3 --- Cosplayer Cyberculture --- p.73 / Chapter 3.1 --- Cosplayers Online --- p.74 / Chapter 3.1.1 --- Public Space --- p.76 / Chapter 3.1.2 --- Dark Space --- p.79 / Chapter 3.1.3 --- Personal Space --- p.84 / Chapter 3.2 --- The Contradiction --- p.88 / Chapter 3.3 --- A Long-lasting Discussion: Effort or Enjoyment --- p.98 / Chapter 3.4 --- Summary --- p.105 / Chapter Chapter 4 --- "Pretty Girls, Pretty Boys, and Their Audiences" --- p.108 / Chapter 4.1 --- "Pretty Girls, Photographers, and the Other Girls" --- p.109 / Chapter 4.2 --- Pretty Boys --- p.116 / Chapter 4.3 --- Pretty Boys in Love --- p.132 / Chapter 4.4 --- Summary --- p.143 / Chapter Chapter 5 --- The Meanings of Cosplay --- p.146 / Chapter 5.1 --- Mainstream Values and the Education System in Hong Kong --- p.146 / Chapter 5.2 --- Cosplayers as Secondary School-Students --- p.150 / Chapter 5.3 --- The Meanings of Cosplay: Four Cases --- p.157 / Chapter 5.3.1 --- "Te's Story: ""I'm going to work in art and design""" --- p.157 / Chapter 5.3.2 --- "Tsu's Story: ""I mustn't let my parents knew that I'm cosplaying""" --- p.166 / Chapter 5.3.3 --- "Story of a Mother: ""I want to let her try anything that interests her""" --- p.171 / Chapter 5.3.4 --- "Saki's Story: ""Cosplay is just an interest after all'" --- p.175 / Chapter 5.4 --- Summary --- p.179 / Chapter Chapter 6 --- Conclusion --- p.181 / Chapter 6.1 --- A Review of the Chapters --- p.181 / Chapter 6.2 --- Comparison with Previous Studies --- p.186 / Bibliography --- p.196

Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.

The purpose of this study is to investigate how homosexuality and homosexual adoptions are manifested in children's comic "Bamse" and study the result in the light of a brief background about the western society and gay history. The study has a historical gender perspective and focus homosexuality primarily in modern times. Drawing on critical theory and semiotic analysis, the study shows how ideas and ideology surrounding same-sex relations and parenting are negotiated in the ”Bamse” comic. 2010 was the year when the Bamse cartoon took a step into the gender debate and introduced two gay rabbits who adopted an infant. The study shows that despite the obvious intent to anchor homosexuality as normal and integrated in the society there are hidden ideologies that reveals homosexuality as abnormal and excluded. Homosexuality in "Bamse" includes a male homosexuality and no female representatives are visible. Also is homosexuality normalized by including both traditional male and female attributes and domains. The gay man emerges as emotional, scared, unused to children, colored, not belonging in a middle or upper class, surrounded by darkness, but, while fully capable of providing care to a child, just as heterosexual parents. The study reveals how ”Bamse” contains and negotiates between conflicting ideoligies about same sex parenting. This duality of the prominent ideologies may well reflect the social concepts that exist at the time of this study in the media debate. / Syftet med denna studie är att undersöka hur homosexualitet och homoadoption manifesteras i barnserietidningen ”Bamse – världens starkasta björn” och studera resultatet mot en kort bakgrund kring samhälle, ”Bamse-” och homohistoria samt genus. Studien tar sin utgångspunkt i ett historiskt genusperspektiv som belyser homosexualitet främst under modern samtid. Vid närmandet av empirin tillämpas kritisk teori och semiotisk analys för att utkristallisera föreställningar och ideologier som omfattar studieobjekt. 2010 var det år då tidningen om Bamse tog steget in i genusdebatten och introducerade två homosexuella kaniner som genom en homoadoption bildade familj. Studien påvisar att trots att ett uppenbart uppsåt finns att förankra homosexualitet som normalt och inkluderat i samhället återfinns dolda ideologier som befäster homosexualitet som avvikande och exkluderande. Homosexualitet i ”Bamse” innefattar en manlig homosexualitet då inga kvinnliga representanter syns. Likaså understryks en homosexualitet som normaliserats genom att innefatta både traditionellt kvinnliga och manliga attribut och domäner. Den homosexuella mannen framträder bland annat som känslosam, rädd, ovan vid barn, färgad, icketillhörande av medel- eller överklass, med ett avsides boende, omgiven av mörker, men samtidigt som fullt kapabel att ge omsorg till ett barn, på samma sätt som heteroföräldrar. Denna kluvenhet eller dubbelhet i de framträdande ideologierna kan också väl avspegla de samhälleliga föreställningar som återfinns vid tiden för studien i till exempel mediadebatten.

published_or_final_version / Chinese / Master / Master of Philosophy

Cette étude se fixe un triple objectif. Il s’agira d’abord de décrire les représentations textuelles du rire dans Le Roman comique de Scarron, en établissant d’une part les conditions de possibilité du comique et, d’autre part, en montrant la dette qu’a contractée le genre de l’histoire comique du XVIIe siècle auprès de la poétique de la comédie classique. Nous préciserons ensuite la nature et le sens à donner aux stratégies dramaturgiques mises en œuvre par Scarron pour rendre compte de l’humanité comique, tantôt disqualifiée, toujours remise en question. Nous mettrons enfin en évidence l’originalité de la structure du roman de Scarron qui accueille contradictoirement des esthétiques ennemies. Expérience de l’insubordination et affirmation d’une conscience critique, le rire de Scarron, en même temps qu’il brouille les hiérarchies culturelles, littéraires et idéologiques de l’âge classique, induit une rhétorique de la lecture comique et délivre une vision sceptique du monde. Innervée par ce rire protéiforme et ambivalent, notre étude propose donc une interprétation globale du roman scarronien à partir de l’analyse détaillée de sa poétique. / The following study has three main goals. We will first describe the textual representations of laughter in Scarron’s Le Roman comique, establishing on the one hand the conditions of possibility of the comic and by showing, on the other hand, the debt that the seventeenth century’s comic novels have contracted towards the poetics of the comedy. We will then identify the nature and meaning of the dramaturgical strategies used by Scarron to represent his comical characters, sometimes disqualified but always questionned. Finally, we will highlight the originality of Scarron’s novel structure that hosts contradictory aesthetics. While it blurs the frontiers of cultural, literary and ideological hierarchies, Scarron’s laughter, an experience of insubordination and an affirmation of a critical consciousness, induces a certain way of reading comedy and delivers a skeptical view of classical age’s world. Animated by this protean and ambivalent laughter, our study proposes a global interpretation of Scarron’s novel based on a detailed analysis of his poetics.

Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910. / This dissertation focuses on the institutionalization and industrialization of drawn animation. Animated cartoons are usually seen as being quite different from live action films. They were modelled on traditions found in the realm of magic lantern, opitcal toys, phantasmagoria and comics. Yet, cartoons were fundamentally filmic by nature. Technically and aesthetically, animated films were considered as a category of trick films. In the 1910s, after the pioneering work of Emile Cohl, James Stuart Blackton and Winsor McCay, who were also famous for their work as cartoonists and lightning sketch artists, the nascent industry of animated cartoons recruited talent from the comic strip and the illustration industries, including John Randolph Bray, Earl Hurd, Paul Terry and, later, Max Fleischer. The institutionalization of animated cartoons — that is, the process through which cartoons gained enough visibility so they could be legitimately considered a new category of films — is the result of their industrialization. Animated cartoons studios developed techniques and work management practices that were specific to their needs. While largely dependent on the moving picture industry, animated cartoons created their own niche. This phenomenon of individuation relied heavily on narrative formulas and recurring characters modelled after famous comics of the 1910s.

Este trabalho tem como tema a relação intertextual entre peças teatrais de Plauto, Molière e Suassuna estabelecida a partir da recorrência de temas e de caracteres desenvolvidos pelo comediógrafo romano na composição da comédia clássica. Para a contextualização das comédias na história e na literatura, foi abordada a questão do riso e do cômico ao longo dos séculos, bem como a relevância e a originalidade de cada um dos autores no panorama teatral. Como objeto de análise comparativa, foram tomadas as peças A Aululária, de Plauto; O Avarento, de Molière; e O Santo e a Porca, de Ariano Suassuna. A proposta deste estudo é mostrar como temas e personagens elaborados por Plauto foram relidos, transformados e integrados à obra de Molière e, posteriormente, à de Suassuna. No confronto entre as obras foi considerada a inovação e a reutilização de efeitos cômicos empregados pelos autores, de acordo com as teorias sobre a comicidade de Bergson e de Propp. A intertextualidade foi o conceito-chave para a análise de aspectos pontuais recorrentes entre as peças, em especial o personagem do avarento. / The present work discusses intertextual relations between theater plays by Plauto, Molière and Ariano Suassuna starting from recurrent themes and characters developed by the classical Roman comediographer. In order to place comedies in a proper historical and literary context, the development of laughter and the comic throughout the centuries as well as relevant and original traits contributed by each of the three playwrights have been analysed. The plays Aulularia (The Pot of Gold) by Plauto, O Avarento (The Miser) by Molière, and O Santo e a Porca (The Saint and the Sow) by Ariano Suassuna were compared in order to show how themes and characters created by Plauto were re-read, transformed and assimilated by Molière and later on by Suassuna. Concepts such as innovation and reworking of comic effects employed by the authors were analysed according to Bergson’s and Propp’s theory of the comic. Intertextuality was as a key concept in the analysis of these recurrent theatrical aspects – in particular the character of the Miser.