The Belgian artist Pierre Alechinsky (1927– ) is the last living member of Cobra (Copenhagen Brussel Amsterdam), a European avant-garde art movement, which was active between 1948 and 1951. The aim of this study is to examine the style of Alechinsky as it evolved after 1951 while also providing an introduction to the art of Alechinsky to a Swedish audience. To do so, I focus primarily on three of Alechinsky’s artworks: Migration (1951), Central Park (1965) and Passerelle (II) (1986). The theoretical framework is derived from Michael Baxandall’s book Patterns of Intention (1985), which explains historical objects through the cultural context in which they were created. The analyses are based on terms borrowed from Jan-Gunnar Sjölin’s semiotic method from Att tolka bilder (1998), and focus on the artworks’s materiality, comprising the use of materials, plasticity and verbal meanings.   The results show that Alechinsky incorporates stylistic features, such as Japanese calligraphy, derived from his trips abroad and his interactions with fellow artists. A shift from abstraction to figuration occurred between the earlier Migration and later Central Park. Alechinsky’s style in Central Park and Passerelle (II) is characterised by his use of sidenotes and marouflage while blending figurative and abstract images. Alechinsky’s style in the later artworks includes the usage of Indian ink as well as clear acrylic colours. Both Central Park and Passerelle (II) include brushwork and organic shapes, which between the two artworks have similarities with each other. The brushwork for example, creates lines that creates movement which can be seen in the central pictures of Central Park and Passerelle (II). Alechinsky’s style is also characterised by square and rectangular shapes that contains pictures. It is a style in the grey zone of abstraction and figuration, where conscious movement and structured spontaneity meet.

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In this thesis, I do a reparative reading of contemporary Swedish comics, that uses feminine signifiers, both in their imagery and writing. A crucial point of departure, in this thesis, is how literature can ”do” theory and be seen as a way of creating knowledge. I explore what the comics does to me, as a reader, and how. I experiment with the form and style of academic writing in order to clearly define my position and situate the production of knowledge. By focusing on the affects and nourishment, that the comics contain, I try to imagine a feminist other, with the help of my figuration: Nietzsche Minaj, and my imaginary utopian place: ”mitt flick(tionella) rum”. I conclude, that the comics both reproduce and transform feminine signifiers, while challenging the idea of dichotomies, in the spirit of gurlesque theory.

Cette étude vise à développer la notion de figuration hors des jalons établis par les sciences de l’image et du langage, sans remettre en question les domaines spécifiques de l’iconologie et de la sémiologie. Elle s’appuie pour cela sur deux champs d’investigation principaux : l’expérience de la peinture, poïétique et esthétique, et la philosophie. Il s’agit plus précisément d’amener l’expérience intime du faire, du voir et du faire-voir, à l’éclaircissement d’une certaine conscience figurale : que signifie « représenter » pour la conscience créatrice ? Quels processus psycho-sensoriels sont en jeu dans l’acte de figurer ? Comment définir la liberté d’action du peintre face, d’un côté, à sa part d’inconscience, et, de l’autre, au déterminisme de l’imitation ?Il ne s’agit donc pas d’étudier la peinture figurative, par opposition à la peinture abstraite, gestuelle, informelle…, mais la tendance intime qui, dans n’importe quel tableau, donne à voir des configurations. Une figure peut être fidèle aux apparences, tout juste allusive ou totalement détachée du monde visible (comme un cercle parfait ou une simple tache de peinture), elle détient toujours une puissance d’évocation, ainsi qu’une capacité à se conglomérer avec d’autres et à inspirer des rapports logiques. Figurer ne signifie pas clicher le monde visible, mais, d’une manière qui reste encore à définir, laisser émerger des schèmes animés, favoriser le surgissement de motifs imaginaires ; entités primitives, identitaires, fondatrices de notre mode d'habitation du monde. / This study is aimed to develop the notion of representation beyond the reference points established by the image and the language sciences, without challenging the specific fields of iconography and semiology. It is based on two main domains of investigation : painting experiment, both poïetic and esthetic, and philosophy. More precisely, it consists in bringing the intimate consciousness of making, seeing and making someone see to the clarification of a kind of figurative awareness : what does « representing » mean to the creative consciousness ? Which psycho-sensorial processes are in play in the action of representing (i-e painting recognizable shapes) ? How could we define the painter’s freedom of action in relation to, on the one hand, his/her unconsciousness and, on the other hand, the determinism of imitation ?Thus, this work is not about studying representational painting, as opposed to abstract, informal or action painting, but the intimate tendency which, in any painting, shows outlines. A figure may be true to life, hardly allusive or totally unconnected to the visible world (like a perfect circle or just a paint spot), it always has an evocation power, as well as an ability of mixing with other figures and inspiring logical links. Representing does not mean taking a picture of the visible world but in a way that still has to be defined, it means enabling alive schemes to appear, encouraging the springing up of imaginary designs, primitive, identifying, founding entities of the way we live in this world.

Studiens syfte är bidra med kunskap om likheter och skillnader mellan diskurser kring flyktingfrågan i traditionella medier och på Twitter genom att undersöka språkanvändningen samt explicita teman utifrån diskurser i tidningarna Dagens Nyheter och Svenska Dagbladet samt i tweets på Twitter. Studien vill att få kännedom om och hur de traditionella mediernas diskurser samverkar med diskurser på Twitter. För att uppnå syftet med studien bryts syftet ned i fyra frågeställningar: vilka retoriska stilfigurer används i Dagens Nyheter, Svenska Dagbladet och på  Twitter utifrån den valda problematiken? Vilka manifesta och latenta budskap går att urskilja med hjälp av språket i Dagens Nyheter, Svenska Dagbladet och på Twitter?  Vilka negativa respektive positiva värdeladdade ord förekommer i Dagens Nyheter, Svenska Dagbladet och på Twitter? Hur kan den visade språkanvändningen diskuteras utifrån diskursteori och dagordningsteori? Studiens teoretiska ramverk utgår från diskursteori och dagordningsteori samt kopplas samman med tidigare forskning i analysen. Studiens resultat visar att gestaltningen av flyktingfrågan manifesteras på olika vis genom språkanvändningen, till exempel i användningen av retoriska stilfigurer och värdeladdade ord. Twitters språkanvändning är mer dramatisk och kritik uttrycks mer explicit i jämförelse med språkanvändningen i Dagens Nyheter och Svenska Dagbladet. Studien visar dock en möjlig samverkan mellan de båda medierna, då liknande teman hittades i respektive medier. Det var svårare att urskilja manifesta och latenta budskap i diskurserna på Twitter i jämförelse med diskurserna i Dagens Nyheter och Svenska Dagbladet. De båda medierna subjektställer de svenska aktörerna medan flyktingar återfinns som objekt eller inte alls förekommer. Resultatet visar att det i den aktuella studien, finns en samverkan mellan dagspress och social medier. Dagspressens ämnen återfinns i diskurserna på Twitter, där Twitteranvändare tycker något om ämnet dagspressen tar upp. / The purpose of this study is to contribute to knowledge about similarities and differences between discourses in traditional- and social media concerning the refugee issue. Furthermore the purpose will be answered by exploring and compare the use of language and explicit themes in the discourses, in two of Swedens largest newspapers: Dagens Nyheter and Svenska Dagbladet, aswell as selected top-tweets on Twitter. The intention of the study is to receive understanding if and how the discourses in traditional media are reciprocating with the discourses on Twitter. To fufill the purpose of this study, four framing questions will be answered: which rhetorical stylistic figures are used in Dagens Nyheter, Svenska dagbladet and on Twitter? Which explicit and implicit messages can be discovered with help from the used language in the discourses in Dagens nyheter, Svenska dagbladet and Twitter? What negative respectively positive emotive words occurs in the newspapers and on Twitter? How can the result of the used language be discussed by Discourse theory and The agenda setting theory? The study’s theoretical framework are The agenda setting theory and Discourses theory, the theories will be connected to previous research about representation in the media in the section of analysis. The study’s result shows that the figuration of the refugee issue are displayed in different ways through the use of language, for example in the use of rhetorical stylistic figures and emotionally charged words. The used language on Twitter contains more explicit negative and dramatically charged words compared to discourses in Dagens Nyheter and Svenska Dagbladet. However the study indicated a cooperation between the traditional- and social media, due to similar themes that were discovered. Nevertheless, it was more difficult to distinguish the explicit and implicit messages in the discourses on Twitter compared to Dagens Nyheter and Svenska Dagbladet. The subjects in the newspapers where rediscovered on Twitter, where users consider something about the subject which shows some tendencies of collaboration between the newspapers and social media.

Made available in DSpace on 2016-04-26T18:11:37Z (GMT). No. of bitstreams: 1 Regilene Aparecida Sarzi Ribeiro.pdf: 13975478 bytes, checksum: b49c912ef66682dffe057a1cd25a836e (MD5) Previous issue date: 2012-05-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The theme of this research is to build simulations of the fragmented body and its role as an operator of the meaning and interaction of the individual in the contemporary. The research objectives are: to analyze the role of the organization figurative and plastic, the thematization of the body, the figuration of the whole and the parts that link to different treatments of the subject and intervene in the narrative and discursive interactions, study of social meaning and visibility through the interactional relations arranged by the use of expressive audiovisual system, the description of the procedures enunciative, the apprehension of the individuals in interaction and processing a esthesic sense of body self and other. The methodological basis of the research is based on Discursive Semiotics of Algirdas Julien Greimas and his associates, in the Semiotics of Plastic Jean-Marie Floch, in the field of social interactions formalized by Eric Landowski Sociossemiótica and research in the semiotic Brazilian Ana Claudia de Oliveira on the expression sensitive to global enunciation of concreteness. The research corpus consists of four Brazilian vídeoartes produced between the years 1975 and 2002. The actors of utterances installed in the works prepared for analysis are artists belonging to the first and current generation of Brazilian vídeo, as Leticia Parente, a pioneer in the record of performing actions in the 1970s, and Nina Galanternick, Danillo Barata and Lia Chaia, recognized for experimentation and research of vídeo language. The vídeos have analyzed points in common, like the fact that the body of the creator as the enunciator and surfactant statement and closeness between some semantic categories, but differ in aesthetic treatment, plastic and audiovisual syncretism. Research shows the fragmented body as an operator in the sense vídeoartes and vídeo as a semiotic fact that it makes in the act, which gives you the power to capture in close proximity to the body effect and its enunciation of significant seizures of meaning. Of semiotic analysis comes to the operationalization of aesthesia, procedures and metonymic description of the effects of meaning generated in the interaction between the discursive body language, gestures and kinetic and audiovisual language. The study contributes to the area of communication, in that it presents original research, detailed and elaborate procedure of mediation between the metonymic, the part for the whole, interactive media and practices that expand the topic and offer referrals relevant to future studies on the convergence between art and media, art and communication / O tema desta pesquisa é a construção de simulacros do corpo fragmentado e sua atuação como um operador do sentido e interação do sujeito no contemporâneo. Os objetivos da pesquisa são: análise do papel da organização figurativa e plástica, da tematização do corpo, da figuratividade do todo e das partes que apontam para distintos tratamentos do sujeito e intervêm nas interações narrativas e discursivas; estudo dos regimes de sentido e visibilidade por meio das relações interacionais dispostas pelo uso do sistema expressivo audiovisual, da descrição dos procedimentos enunciativos, da apreensão dos sujeitos em interação e do processamento estésico do sentido do corpo do si mesmo e do outro. A base metodológica da pesquisa é pautada na Semiótica Discursiva de Algirdas Julien Greimas e seus colaboradores; na Semiótica Plástica de Jean-Marie Floch; no campo das interações sociais formalizadas por Eric Landowski na Sociossemiótica e nas pesquisas da semioticista brasileira Ana Claudia de Oliveira sobre a expressão sensível como concretude da enunciação global. O corpus da pesquisa é constituído por quatro vídeoartes brasileiras, produzidas entre os anos de 1975 e 2002. Os atores das enunciações instalados nas obras recortadas para análise são artistas pertencentes à primeira e à atual geração do vídeo brasileiro, como Letícia Parente, pioneira no registro de ações performáticas na década de 1970, e Nina Galanternick, Danillo Barata e Lia Chaia, reconhecidos pela experimentação e investigação da linguagem vídeográfica. Os vídeos analisados possuem pontos em comum, como o fato de ter o corpo do criador como enunciador e actante do enunciado e a proximidade entre algumas categorias semânticas, mas se distinguem no tratamento estético, plástico e sincrético do audiovisual. A investigação mostra o corpo fragmentado como um operador de sentido nas vídeoartes e o vídeo como um fato semiótico que se perfaz em ato, o que lhe dá competência para captar em proximidade íntima o fazer sentido corpóreo e sua enunciação de apreensões significantes da significação. Da análise semiótica provém à operacionalização da estesia, dos procedimentos metonímicos e a descrição dos efeitos de sentido gerados na interação discursiva entre as linguagens corporais, gestual e cinética e a linguagem audiovisual. O estudo contribui para a área de Comunicação, na medida em que apresenta uma investigação original, minuciosa e elaborada das mediações entre o procedimento metonímico, a parte pelo todo, e as práticas interativas midiáticas, que ampliam o tema e oferecem encaminhamentos relevantes para estudos futuros sobre a convergência entre a arte e a mídia, a arte e a comunicação

Made available in DSpace on 2016-04-26T18:11:38Z (GMT). No. of bitstreams: 1 Maria Paula Piotto da Silveira Guimaraes.pdf: 5194370 bytes, checksum: 2b845dff0aa72a7945c268aa5588d94d (MD5) Previous issue date: 2012-05-11 / The study addresses the political body is collected in a corpus of media discourses that deal with politics, defined as the space organization, conduct and administration of the State, while the policy is understood as meaning Landowski (2001) as the sense in act. Politics and policy are the core of this nature documentary research, which aims to deduce the signifying practices of the body politic that reveal and explain the political. It is assumed that the political figures give visibility to the distinctive features that made the prospect of a speech act, allow us to understand how to organize the direction and the interaction between the subject of the utterance and enunciation. The first hypothesis is that the basic regime of interaction of political power follows the logic of intentionality (manipulation), which is hinged to the logic of sensitivity (adjustment). This dynamic, which can only be operated constantly passing by deixis programming procedure follows the logic of regularity (Landowski, 2005), the hypothesis is that an adjustment resulting from reactive (Landowski, 2004) is dominantly in the discursive manifestations. The hypothesis is that the largest interactive practices dynamically articulate the dimensions of the intelligible and the sensible and are the mechanisms that joint, allow to understand the construction of the meaning of politics and policy. To test these hypotheses the body language of politics is analyzed from the recovery of gestures, proxemics, posture, kinetic drive, look, in short, a route that goes from figurativization policy statement in the corporeal presence in the enunciation. The reasoning is that of narrative grammar of Greimas and developments carried out by Landowski, who postulated, beside the junction regime, the regime of union. The study corpus consists of texts photographic and videographic put into circulation in large print media, television and digital, to give visibility to the body of the government of the Federative Republic of Brazil from 22º to 29º periods of Republican Government, both inclusive. Such a definition has the scope to political campaign, the act of taking possession and leaving the government, official meetings and day-to-day ruler, the imagery that sets a course built by research than the government was conducted. It is hoped that this work can contribute as part of the communication to the studies of the political dimension of body language is not restricted to a grid of preconceived meaning, but also to your organization or semi-symbolic content aesthetic and in field of semiotics, the investigations of interactive practices / O estudo aborda o corpo do político coletado em um corpus de discursos midiáticos que versam sobre política, essa definida como o espaço de organização, condução e administração do Estado, enquanto o político é entendido na acepção de Landowski (2001) como o sentido em ato. A política e o político são o cerne desta pesquisa de natureza documental, que objetiva depreender as práticas significantes do corpo da política que desvelam e explicitam o político. Pressupõe-se que as figuras políticas dão visibilidade a traços distintivos que, assumidos da perspectiva de um discurso em ato, permitem compreender como se organizam o sentido e a interação entre os sujeitos do enunciado e da enunciação. A hipótese primeira é que o regime de interação basilar do poder político segue a lógica da intencionalidade (manipulação), que é articulada à lógica da sensibilidade (ajustamento). Dessa dinâmica, que só pode ser operada passando constantemente pela dêixis do procedimento da programação, segue a lógica da regularidade (LANDOWSKI, 2005), a hipótese decorrente é que um ajustamento reativo (LANDOWSKI, 2004) encontra-se dominantemente nas manifestações discursivas. A hipótese maior é que as práticas interativas articulam dinamicamente as dimensões do inteligível e do sensível e são os mecanismos dessa articulação que permitem compreender a construção do sentido do político e da política. Para testagem dessas hipóteses a linguagem do corpo do político é analisada a partir da recuperação do gesto, da proxêmica, da postura, da movimentação cinética, do olhar, em suma, de um percurso que vai da figurativização política no enunciado à presença corpórea na enunciação. A fundamentação é a da gramática narrativa de Greimas e os desdobramentos realizados por Landowski, que postulou, ao lado do regime de junção, o regime de união. O corpus de estudo é constituído de textos fotográficos e vídeográficos postos em circulação nas grandes mídias impressa, televisiva e digital, para dar visibilidade ao corpo dos governantes da República Federativa do Brasil do 22º ao 29º períodos de Governo Republicano, ambos inclusive. Tal delimitação tem no escopo a campanha política, o ato de tomar posse e de deixar o governo, os encontros oficiais e o dia-a-dia do governante, o que configura um percurso imagético construído pela pesquisa do que foi o governo realizado. Espera-se que este trabalho possa contribuir, no âmbito da comunicação, para os estudos da dimensão política da linguagem corporal não restrita a uma grade de significação pré-concebida, mas também à sua organização semisimbólica ou de teor de esteticidade e, no âmbito da semiótica, para as investigações das práticas interativas

This essay investigates the feminist philosophy of Rosi Braidotti with particular focus on the alternative feminine feminist nomadic subject that she creates. I also introduce Braidotti’s theoretical inspiration from Gilles Deleuze and Luce Irigaray. I argue that Braidotti creates an alternative figuration for feminism through synthesizeing Deleuze’s concept of ”becoming” with Irigaray’s sexual difference-theory. Braidotti highlights the importance of understanding the concept of difference differently. She also argues for the difference between subjectivity and identity, for the materialistic foundation of the subject, for the fundamental asymmetry between the sexes and for the nomadic mode of thinking. Braidottis suggests that the way out of the phallogocentric system, which she means we are encapsulated in, consist in working through the images that patriarchy has produced of women, through mimetic repetitons, in order to create new representations of women. I argue that the feminist philosophy of Braidotti is both humble and subversive which makes it an interesting and useful alternative for everyone who is interested in alternative, complex and thrilling ways of theorizing female feminist subjectivity.

In this thesis, I challenge assumptions underlying my discipline of enterprise architecture that led to two choices facing practitioners: either to work with tools and techniques which predict and control changes towards predetermined ends or to accept informal processes that are unpredictable and wasteful. Orthodox enterprise architecture defines an enterprise as an organisation, which is a system, and prescribes methods that seek to provide control over the transformation of an organisation into a desired state of affairs by achieving complete knowledge of the system before initiating the desired transformation. Drawing on complexity sciences, I offer a different perspective on organisation and claim that organising what we do is an aspect of doing what we do. Organising is process. I furthermore claim that the people who are organising what we do can act spontaneously and surprise both themselves and others, but often they act habitually. Habitual ways of acting allow us to anticipate to some extent how others are likely to respond to us and, as we grow up, we learn how to behave ourselves, that is, how to adjust our behaviour to what we judge socially acceptable to increase the likelihood of being able to garner support and collaboration. I posit that social control is exercised in this way as mutual self-adjustment that forms what is normal and valued conduct. In other words, our shared social norms and values thus paradoxically and simultaneously form individuals and their conduct and are formed by individuals and their conduct. I claim that in this way we have partial, but never full, knowledge of how others generally respond to certain behaviour of ours. We can ever have only partial knowledge of that which is - in the words of Mannheim - in the process of becoming. I therefore reject the central assumptions upon which orthodox enterprise architecture is based. In organisations, we engineer and exploit mechanical mechanisms that can conduct certain action more effectively and efficiently than people can. Materiality, objects in the world, can resist attempts to shape them to suit our needs but do so without intentionality or spontaneity. Accommodating material resistance is thus repeatable. Enterprise architecture as a discipline grew out of engineering of physical mechanisms and assumes a similar repeatability and predictability when working with the social, which I find to be an unwarranted assumption. I argue against the claim of orthodox enterprise architecture that we can bring about a pre-determined state in a controlled fashion and against the claim that without such control we have informal processes that are inevitably unpredictable and wasteful. I posit that what emerges is paradoxically stable instabilities of socially enabled and constrained recognisable patterns of behaviour. When devising a mechanism in a physical object, such as a software programme, a repertoire of scripted action is transcribed into it which remains constant until transcription is renewed. Transcription has a tendency to render action less fluid. Some members of an organisation may judge particular scripted action to be awkward or detrimental while others may judge the same scripted action to be efficient and beneficial. Thus, determining which scripted action to transcribe into mechanisms is a highly political decision which attracts the attention of skilful political players. Enterprise architects can have a valuable role to play, since we have a better than average partial knowledge about technology, and since technology is increasingly important for many enterprises. I posit that becoming more aware of power and power plays, developing a feel for the game, and becoming more detached about our involvement will allow us to play into what is emerging socially with more political awareness and expertise.

Made available in DSpace on 2014-12-17T15:12:10Z (GMT). No. of bitstreams: 1 IrisFS_TESE.pdf: 1940657 bytes, checksum: 41179c217d88bbc93bdbef2eb356b70c (MD5) Previous issue date: 2013-11-05 / The concept of formativity, coined by Luigi Pareyson, is a key to the development of countless contemporary aesthetic studies. The aim of this dissertation is to present a deep understanding of the notion of Formativity and Interpretation, as evidenciated by the title Formativity and Interpretation: the aesthetical philosophy of Luigi Pareyson. The work Aesthetics - Theory of Formativity, first published in 1954, is considered a mark in the rebirth of aesthetics. In this dissertation, the concept of Formativity is examined as a component applicable to every human action, and not limited to pre-determined practices, nor referred to the application of preexisting. I ve performed an investigation of the triple concept of doing-inventing-interpreting, which simultaneously grounds Formativity. In the first section, Pareyson s Aesthetical Propaedeutic is presented; in the second, the Theory of Formativity: the aesthetical character of the whole human experience is analysed; and in the third chapter, The Aesthetical of Form and the Metaphysics of Figuration is related to the formativity character of the knowledge. Through this analysis, I ve intended to evidence how human operability can be understood as search and trial, figuration and invention, in the search for success. In this sense, this thesis seeks to present an interpretation of the idea of work-form, speculating the inexorability of invention and interpretation in an attempt to establish a new bottom line for the studies Pareyson s Aesthetics in Brazil / O conceito de formatividade, cunhado por Luigi Pareyson, ? a chave para o desenvolvimento de importantes estudos contempor?neos no campo da Est?tica. O escopo deste trabalho ? apresentar uma compreens?o das no??es de Formatividade e Interpreta??o, como se evidencia no t?tulo da tese: Formatividade e Interpreta??o: a filosofia est?tica de Luigi Pareyson. A obra Est?tica - Teoria da Formatividade, publicada pela primeira vez em 1954, ? considerada um marco do renascimento da est?tica. Nesta tese, examinamos o conceito de formatividade como um componente aplic?vel a toda e qualquer a??o humana, n?o limitada a pr?ticas pr?-determinadas nem ? aplica??o de procedimentos preexistentes. Investigamos a tr?ade conceitual fazer-inventar-interpretar, que simultaneamente funda a formatividade. No primeiro cap?tulo, apresentamos a Proped?utica Est?tica; no segundo, analisamos a Teoria da Formatividade: o car?ter est?tico da inteira experi?ncia humana; e, no terceiro, exploramos A Est?tica da Forma e a Metaf?sica da Figura??o no car?ter formativo do conhecimento. A nossa reflex?o enxerga a operabilidade humana como busca e tentativa, figura??o e inven??o ? procura do ?xito. O problema da forma??o da obra, a ideia de Obra-forma, abordados nesta tese, apresenta a inexorabilidade de inven??o e interpreta??o numa tentativa de estabelecer um novo ponto de partida para os estudos da est?tica pareysoniana no Brasil