Made available in DSpace on 2015-05-14T12:39:40Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2187862 bytes, checksum: 80ee093ba3947a1c5e81d1c4aaa55264 (MD5) Previous issue date: 2012-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis studied discourses by and about blind people in the Brazilian and International Popular Literature which previously belonged to the oral tradition and subsequently were collected for writing; as well as texts produced in modern times. To accomplish this, the starting point was the hypothesis that the discourses by and about blind people pertinent to Popular Literature delineate the socially constructed image of the blind subject. The research was guided by the general objective that aimed at analyzing popular texts by and about blind people in the light of theoretical designs of the Greimasian Semiotics at its three levels: fundamental, narrative and discursive, which generate meaning to unravel the systems of values invested by the blind subjects, their beliefs, their world view and their image in society. The analytical assessment was completed by the Cultural Semiotics which verified the anthropogenic areas surrounding human beings. The available corpus consisted of three hundred and eighty-four popular national and international texts produced by blind and not blind poets. This statistical population grouped literary genres of popular expression classified as quatrains, narratives of cordel, arguments or poetries of challenge, songs, poetries, poems, stories and oral novels; among those, seven texts were selected to compose the sample. The analyzed discourses were compiled by the initial letters of the words in the title: Cantador que perdeu a vista (CPV), O cego de Várzea Alegre e o milagre do Cícero (CVAMPC), Os dois cegos e o engraçado (DCE), A luz e a escuridão (LE), Meu caminho é o céu (MCC), Peleja com Zé Pretinho (PCAZP) e A virgem e o cego (VC). The content of the paper is organized into three chapters: the first chapter comprises the Theoretical Study from Signs to Semiotics, the second one outlines the Exhibition of the corpus and the third is the acomplishment of the Semiotic Analysis of discourses by and about blind people. In the end, the results achieved through the appreciation of discourses are presented. / Esta tese estudou discursos de e sobre cegos oriundos da Literatura Popular brasileira e estrangeira que a priori pertenceram à tradição oral e a posteriori foram coligidos para escrita; assim como, textos produzidos na contemporaneidade. Para realizá-la, partiu-se da hipótese de que os discursos de e sobre cegos pertinentes à Literatura Popular delineiam a imagem do sujeito cego construída socialmente. A pesquisa foi norteada pelo objetivo geral que propôs analisar textos populares de e sobre cegos, à luz dos desígnios teóricos da Semiótica greimasiana, nos seus três níveis geradores da significação: fundamental, narrativo e discursivo, para desvendar os sistemas de valores investidos pelos sujeitos cegos, suas crenças, visão de mundo e a imagem deles na sociedade. A apreciação analítica foi completada pela Semiótica das Culturas que verificou as zonas antrópicas do entorno humano. O corpus disponível foi constituído de trezentos e oitenta e quatro textos populares, nacionais e estrangeiros produzidos por poetas cegos ou não. Esta população estatística agrupou gêneros literários de expressão popular classificados como: quadras, narrativas de cordel, pelejas ou poesias de desafio, canções, poesias, poemas, contos e romances orais; dela foram selecionados sete textos para compor a amostra. Os discursos analisados foram compilados pelas letras inicias das palavras do título: Cantador que perdeu a vista (CPV), O cego de Várzea Alegre e o milagre do Cícero (CVAMPC), Os dois cegos e o engraçado (DCE), A luz e a escuridão (LE), Meu caminho é o céu (MCC), Peleja com Zé Pretinho (PCAZP) e A virgem e o cego (VC). O conteúdo do trabalho foi organizado em três capítulos: o primeiro compreende o Estudo Teórico do Signo à Semiótica, o segundo esboça a Exposição do corpus e o terceiro é a realização da Análise semiótica de discursos de e sobre cegos. No final, enunciaram-se os resultados alcançados através da apreciação dos discursos.

Dans le cadre général d’une sémiotique des cultures, cette recherche a utilisé les propositions épistémologiques et méthodo-logiques de la sémantique interprétative pour renouveler l’analyse de textes irlandais médiévaux. Le but était d’apporter une contribution à une problématique générale intéressant les sciences du langage, mais aussi les sciences historiques : comment fonder la pertinence scientifique d’une interprétation de textes et signes anciens appartenant à une culture différente ? Pour cela il a été choisi de viser les faits sémantiques qui interviennent dans les processus de transfert de sens que la tradition rhétorique nomme comparaison, métaphore ou symbole. L’approche méthodologique a nécessité l’édition d’un corpus interlinéaire offrant un accès direct aux données de l’Electronic Dictionary of the Irish Language. L’étude du lexique a confronté les possibilités définitoires aux afférences contextuelles observées par un relevé systématique des isotopies ciblées.Sur le plan sémantique, l’analyse des processus différentiels qui structurent les molécules sémiques a permis d’observer la circulation des sèmes marquant les analogies intentionnelles. Sur le plan diachronique, la description du système de valeur, pris dans sa globalité, fonde la pertinence de l’interprétation en ce qu’il intègre les normes sociales du contexte historique du signe. Sur le plan des études celtiques, l’analyse des correspondances entre les domaines de l’orientation spatiale, des cycles temporels et des fonctions sociales donne un nouvel accès à la complexité du système de pensée de cette culture. Les formes sémantiques décrites fournissent de nouveaux modèles pour des comparaisons. Sur cette base, les expressions de l’association arbre-savoir ont été décrites pour apporter une solution aux problèmes de l’étymologie de la lexie druid- et proposer le dépassement des approches lexicales monographiques par l’approche intertextuelle. / Within the general framework of a semiotic of cultures, this research has used the epistemological and methodological propositions of the interpretative semantic to renew the analysis of the medieval Irish texts. The aim was to make a contribution to a general question concerning the language sciences but also the historical sciences : How to set up the scientific relevance of a text interpretation and ancient signs that belongs to a different culture ? With this mind, it has been decided to aim at semantic facts which intervene in the transfer process of meaning that the rhetoric tradition name comparison, metaphor or symbol. The methodological approach has required the edition of an interlinear corpus giving a direct access to the data of the Electronic Dictionary of the Irish Language. The study of the lexis has compared the defining possibilities to the contextual afferences has been observed by a systematic survey of targeted isotopies.On the semantic level, the analysis of the differential processes that structures the semic molecules has enabled the possibility to observe the semes circulation that highlight the intentional analogies. On the diachronic approach, the description of the value system taken as a whole, set up the interpretation’s relevance because it’s integrating the social standards of the sign’s historical background. With regard to the Celtic studies, the analysis of correspondence between the fields of spatial orientation, the time cycle and the social functions gives a new access to the complexity of this culture’s system of thought. The described semantic patterns provide new models for comparisons. On this basis, the expressions of association tree-knowledge has been described to find a solution to etymological problems of the lexis druid- and suggest to go beyond the monographic lexical approaches by the intertextual approach.

The aim of this thesis is to describe and review the visual art teaching profession from a wider cultural perspective. This can lead to a better understanding of how teachers in 2000s Sweden manage change and relate to their task. This is a starting point for the formation of question areas that are of concern: the importance of their own specific interests in various visual art media for the development of their professional knowledge; what conditions different types of schools provide for the development of the subject and the strategies visual art teachers (in the study) use to develop their teaching on the theme of contemporary art. The theoretical framework is based on a socio-cultural perspective. Analysis combine cultural semiotic and frame factor models. Institutional art theory focuses on art’s audience and the art institutions which are central to contemporary art manifestations. The thesis is based on two case studies conducted by three separate teacher-training days at Bildmuseet in Umeå. 14 Visual Art teachers from four different types of schools: compulsory school, years 7-9, upper secondary school, folk high school and volountary art school (Swe. kulturskola) participated in the study. The investigations has generated data produced through interviews, observation, self-reports and images. Contemporary Art is involved in society's constant change and mix of new medias. The changes concernes the visual art educational field. The opportunities different school contexts provides for education, has an impact on how knowledge is transformed. Conformity, solid structures, formes of assessment and low legitimacy shape resistance. Teaching in visual art is highly based on teachers' own choices. A fragmented knowledge-culture with focus on manual or digital mediations leads to different knowledge-selection. This study highlights resistances that affect applying contemporary art on its own terms. Contemporary art’s starting points and new perspectives represent other paradigms than traditional art classifications. This sigifies tension between the artworld and the educational field. To reducie the tension, a dialogue and interaction between the fields on equal terms is recommended. The study identifies a lack of procedures and resources for formal continuing professional development. There is a need of developing the collective body of knowledge, covering both the theoretical and practical knowledge in the visual art teacher culture.

<p>This study develops a model for understanding spatial change and the construction of space as a meeting-place, and then employs it in order to show an otherwise little-known picture of (sub-)urban Russia and its transformation from Soviet times to today. The model is based on time-geographic ideas of time-space as a limited resource in which forces of various kinds struggle for access and form space in interaction with each other. Drawing on cultural semiotics and the concepts of lifeworld and system, the study highlights the social side of these space-forming forces. Based on a long-term fieldwork (participant observation) in Ligovo/Uritsk, a high-rise residential district developed around 1970 and situated on the outskirts of Sankt-Peterburg (St Petersburg), the empirical material concerns processes of urban identity, spatial representations and local politics. The study explicates three codes used to form the image of the city that all relate to its pre-Revolutionary history, two textual strategies of juxtaposition in creating the genius loci of a place, and a discussion of what I call Soviet "stiff landscape" in relation to Soviet mental and ordinary maps of the urban landscape. Moreover, the study shows that the newly implemented self-governing municipalities have not realised their potential as political actors in forming local space, which raises questions on the democratisation of urban space. Finally, the study argues that the model that guides the research is a tool that facilitates the application of the world-view of time-geography and the epistemology of the landscape of courses in concrete research. The study ends with an attempt to generalise spatial change in four types.</p>

This study develops a model for understanding spatial change and the construction of space as a meeting-place, and then employs it in order to show an otherwise little-known picture of (sub-)urban Russia and its transformation from Soviet times to today. The model is based on time-geographic ideas of time-space as a limited resource in which forces of various kinds struggle for access and form space in interaction with each other. Drawing on cultural semiotics and the concepts of lifeworld and system, the study highlights the social side of these space-forming forces. Based on a long-term fieldwork (participant observation) in Ligovo/Uritsk, a high-rise residential district developed around 1970 and situated on the outskirts of Sankt-Peterburg (St Petersburg), the empirical material concerns processes of urban identity, spatial representations and local politics. The study explicates three codes used to form the image of the city that all relate to its pre-Revolutionary history, two textual strategies of juxtaposition in creating the genius loci of a place, and a discussion of what I call Soviet "stiff landscape" in relation to Soviet mental and ordinary maps of the urban landscape. Moreover, the study shows that the newly implemented self-governing municipalities have not realised their potential as political actors in forming local space, which raises questions on the democratisation of urban space. Finally, the study argues that the model that guides the research is a tool that facilitates the application of the world-view of time-geography and the epistemology of the landscape of courses in concrete research. The study ends with an attempt to generalise spatial change in four types.