Being absent from things or places for a period of time, we try to connect by revisiting our memories. There is always a vivid remembrance of certain objects or surroundings, but when we try to connect them, the truth in our mind deviates from the reality. The disintegration of the memories and the morphing of our imagination create a different reality in our minds that we begin to believe, considering that the truth becomes almost completely abstracted and obscured as time passes.

O fotógrafo alemão August Sander (1876-1964) foi autor de uma das mais apreciadas obras fotográficas do século passado, Homens do século XX (HHSX), um projeto de fotografia documental de grande envergadura, iniciado na década de 1920, composto basicamente por retratos, por sua vez organizados segundo o critério de classificação de tipos da sociedade elaborado pelo próprio fotógrafo. Alguns dos retratos são descritos neste trabalho pormenorizadamente a fim de encontrar nas suas propriedades visíveis indicações referentes aos esquemas de percepção que Sander empregava em sua visão de mundo. As análises dessas imagens são confrontadas com os critérios de classificação por ele adotados e articuladas a um manancial de informações relacionado ao ambiente fotográfico da época, ao contexto sócio-político da Alemanha e à biografia do fotógrafo. Este procedimento levou à hipótese central da pesquisa: mais do que representações de tipos sociais, como de fato acreditava Sander, HSXX é antes um conjunto de estereótipos no sentido de seus retratos serem realidades construídas que correspondem a um modo de percepção social. Enquanto à percepção do real, a maioria dos retratos corresponde a estereótipos pré-concebidos socialmente. O presente estudo parte do princípio de que Homens do século XX é a narração da interpretação de Sander sobre aquele período histórico da Alemanha. Deste ponto de vista, a análise empreendida não interpreta somente a obra, mas também interpreta a interpretação circunstanciada daquele que a concebeu. Não se trata, portanto, de um estudo sobre os fatos narrados, mas sim sobre a forma como Sander os narrou, sua percepção do mundo inscrita na interpretação que ele faz do real circunstanciada por diversos fatos sociais. / The German photographer August Sander (1876-1964) was the author of one of the most appreciated photographic work from last century, Man in the Twentieth Century, a vast documental photography project, started in the 1920s, basically composed by portraits, organized by the author according to societys kinds of occupations. Some of the portraits are described here in detail in order to find in its visible proprieties, indications related to the aspects of perception which Sander used in his view of the world. The analysis of those images are confronted with the classification criteria adopted by him and articulated with several pieces of information related to the photographic environment from that time, to the German social political context and to the photographers biography. This procedure took us to the researchs central hypothesis: more than representations of social types, as Sander believed, Man in the Twentieth Century is a whole of stereotypes in the sense that his portraits are constructed realities that correspond to a kind of social perception. As for the perception of the real, most of the portraits correspond to the stereotypes that are socially understood. The current study essentially states that Man in the Twentieth Century is the narration of Sanders interpretation about that German historic period. From this point of view, the analysis done not only interprets the art work, but also interprets the circumstanced interpretation from the one who idealized it. Therefore, it is not a study about the narrated facts, but about the way Sander narrated them, his perception of the world enrolled in the interpretation that he does about the real, circumstanced by several social facts.

O fotógrafo alemão August Sander (1876-1964) foi autor de uma das mais apreciadas obras fotográficas do século passado, Homens do século XX (HHSX), um projeto de fotografia documental de grande envergadura, iniciado na década de 1920, composto basicamente por retratos, por sua vez organizados segundo o critério de classificação de tipos da sociedade elaborado pelo próprio fotógrafo. Alguns dos retratos são descritos neste trabalho pormenorizadamente a fim de encontrar nas suas propriedades visíveis indicações referentes aos esquemas de percepção que Sander empregava em sua visão de mundo. As análises dessas imagens são confrontadas com os critérios de classificação por ele adotados e articuladas a um manancial de informações relacionado ao ambiente fotográfico da época, ao contexto sócio-político da Alemanha e à biografia do fotógrafo. Este procedimento levou à hipótese central da pesquisa: mais do que representações de tipos sociais, como de fato acreditava Sander, HSXX é antes um conjunto de estereótipos no sentido de seus retratos serem realidades construídas que correspondem a um modo de percepção social. Enquanto à percepção do real, a maioria dos retratos corresponde a estereótipos pré-concebidos socialmente. O presente estudo parte do princípio de que Homens do século XX é a narração da interpretação de Sander sobre aquele período histórico da Alemanha. Deste ponto de vista, a análise empreendida não interpreta somente a obra, mas também interpreta a interpretação circunstanciada daquele que a concebeu. Não se trata, portanto, de um estudo sobre os fatos narrados, mas sim sobre a forma como Sander os narrou, sua percepção do mundo inscrita na interpretação que ele faz do real circunstanciada por diversos fatos sociais. / The German photographer August Sander (1876-1964) was the author of one of the most appreciated photographic work from last century, Man in the Twentieth Century, a vast documental photography project, started in the 1920s, basically composed by portraits, organized by the author according to societys kinds of occupations. Some of the portraits are described here in detail in order to find in its visible proprieties, indications related to the aspects of perception which Sander used in his view of the world. The analysis of those images are confronted with the classification criteria adopted by him and articulated with several pieces of information related to the photographic environment from that time, to the German social political context and to the photographers biography. This procedure took us to the researchs central hypothesis: more than representations of social types, as Sander believed, Man in the Twentieth Century is a whole of stereotypes in the sense that his portraits are constructed realities that correspond to a kind of social perception. As for the perception of the real, most of the portraits correspond to the stereotypes that are socially understood. The current study essentially states that Man in the Twentieth Century is the narration of Sanders interpretation about that German historic period. From this point of view, the analysis done not only interprets the art work, but also interprets the circumstanced interpretation from the one who idealized it. Therefore, it is not a study about the narrated facts, but about the way Sander narrated them, his perception of the world enrolled in the interpretation that he does about the real, circumstanced by several social facts.

ABSTRACT The researcher set out to gain an in-depth understanding of the possible influence of a reality-altering event on interaction behaviour (communication). The alteration in interaction behaviour referred to within the context of this study, is the communication phenomenon identified, explained and labelled as part of the study, which the researcher termed “re-communication”. This study partly aims at developing a re-communication conceptual framework that explains the re-communication phenomenon. In order to explain this unexplored communication phenomenon and develop a re-communication conceptual framework for it, the study focuses on how either strategic or spontaneous communication could be utilised in any reality-altering event to disclose information that would alter the co-constructed social reality between people. This information could be communicated either by the individual, who experienced a reality-altering event, or by persons or forms of communication external to the individual. Within the context of this study, the disclosure becomes the reality-altering event. Therefore, the proposed re-communication conceptual framework firstly addresses the elements that influence disclosure or non-disclosure. Secondly, it focusses on self-preservation communication strategies used to avoid disclosing or concealing the reality-altering event. Thirdly, the framework focuses on the actual reality-altering event, which, in this case, occurs when a gay individual’s sexual identity is disclosed to colleagues. Lastly, the framework looks at re-communication, which involves a perceived alteration in communication post-disclosure due to the altered reality. It is argued that the co-constructed social reality between a gay individual and a colleague is altered from a position of being unaware of the individual being gay to becoming aware. It is further argued that, because heterosexuality is regarded as the norm and the language and meaning ascribed to dominant symbols in society support heteronormativity, people often assume that a colleague is heterosexual and construct their reality based on this notion. Going into an interaction, both the gay individuals and their colleagues have their own social reality, which they have constructed through their experiences, as well as the co-constructed social reality they share with each colleague with whom they interact. This study was conducted within an interpretivist research paradigm and from the position of the theoretical foundation of symbolic interactionism, social constructionism and constructivism. A qualitative, exploratory research design was selected to collect the data by means of in-depth semi-structured interviews and narratives. Based on the insights provided by the participants, re-communication as a communication phenomenon was identified, explained and labelled and the resultant re-communication framework was developed. The re-communication conceptual framework was synergised by means of a thematic textual analysis and was guided by a number of assumptions and postulations arising from a strong theoretical foundation and a comprehensive literature review, which were supported by the findings. In this study, it was found that a reality-altering event is complex and multiple elements influence the way in which gay individuals’ sexual identity are disclosed or not disclosed within the organisational context. However, it has been discovered that communication is the vehicle for self-preservation and for disclosing information that will lead to a reality-altering event. Regardless of how small the influence or how limited the time, post the reality-altering event, the disclosure influences interaction behaviour (communication) and alters the co-constructed social reality between gay individuals and their colleagues. The colleagues go from a position of not knowing an individual was gay to knowing. It is noted that disclosure of a sexual identity and/or any other reality-altering event is not a once off reality-altering event, but rather a continuous process for gay individuals, because each time a new colleague enters the organisational contexts of gay individuals, they need to consider if – and if so, how – they want to disclose. In some cases, disclosure take places by others and the gay individual needs to decide how to deal with colleagues now knowing s/he is gay. The most significant contribution of the study is the identification, explanation and labelling of a previously unexplored communication phenomenon – that of re-communication – and the development of a re-communication conceptual framework that could contribute to the organisational reality in a two-fold manner. Firstly, such a framework will provide insights into and possible sense making of the disclosure experiences of gay individuals in the organisational context. Secondly, the outcome illustrates the importance of inclusive and positive organisational climates and/or cultures and the concomitant impact of positive engagements on organisational practices such as inclusive climates and cultures for sharing, employee loyalty, better team cooperation, trust among employees, increased employee wellbeing and more effective communication processes within organisations. / Communication Science / D. Phil. (Communication)

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