CAPES / Esta pesquisa investiga como a fotografia, a partir das fotorreportagens de Jean Manzon e José Medeiros presentes na revista O Cruzeiro, contribuiu para a representação de modos de vida urbanos no Brasil na passagem dos anos 1940 para os 1950. Busco compreender quais conceitos são destacados através da produção desses fotógrafos no período de 1947 a 1951. Assim, foram analisadas 11 reportagens publicadas dentro do período escolhido. A partir dos Estudos Sociais da Ciência e da Tecnologia propõe-se que os modos de ver são componentes essenciais do sistema tecnológico fotográfico, porque os modos particulares e coletivos de interpretar o mundo, nos quais fotógrafos e editores estão embebidos, se cristalizam em fotografias durante a produção das mesmas. A associação da fotografia à imprensa, especialmente no início do século XX, ampliou o acesso às representações de cidades, pessoas e modos de vida de lugares que muitas pessoas não veriam com os próprios olhos. O Cruzeiro foi uma revista ilustrada semanal que circulou a partir de 1928 e, na década de 1940 se tornou vetor da modernização do fotojornalismo brasileiro ao aplicar modelos inspirados em revistas europeias. Com grande variedade temática e distribuição nacional, O Cruzeiro atingiu um grande número de leitores e se tornou um importante veículo de comunicação no país. Eu entendo que a fotografia influencia na relação entre as pessoas e o mundo quando a percepção de objetos, lugares, conceitos é mediada pelas representações presentes nas imagens. Através das análises, foi possível perceber que as reportagens constroem conceitos pelas representações a partir de binômios como feminilidade e masculinidade, lazer e trabalho, civilizado e selvagem, classes baixas e altas, entre outros. Porém, esses temas se articulam entre si, entrecruzam-se: por exemplo, as representações de feminilidade ou masculinidade são atravessadas por marcadores de classe social, geração e etnia. As escolhas dos fotógrafos e da revista na produção e circulação de fotografias, ao se repetirem ao longo dos anos, funcionam como proposições de modelos de vida. / This research investigates how photography, present in photo reportages made by Jean Manzon and José Medeiros in the magazine O Cruzeiro, contributed to representation of urban ways of life in Brazil during the passage of the 1940s to 1950s. I seek to understand which concepts were highlighted through the production of these photographers in the period 1947-1951. Therefore, 11 reportages published during the chosen period were analyzed. Based on the Science and Technology Studies, I propose that the ways of seeing are essential components of photographic technological system. Because the private and collective ways of interpreting the world in which photographers and editors are embedded are crystallized in photos during production. The association of photography to the press, especially in the early twentieth century, expanded the access to representations of cities, people and lifestyles from places that many people would not be able to see with their own eyes. O Cruzeiro was a weekly illustrated magazine started in 1928. In the 1940s, inspired by European magazines, it became a modernization's vector of Brazilian photojournalism. With thematic variety and national distribution, O Cruzeiro reached a wide audience and became an important media in Brazil. I understand that photography influences the relationship between people and the world when the perception of objects, places, concepts is mediated by representations. Throughout the analysis was observed that the reportages build concepts by representations using dichotomies as femininity and masculinity, leisure and work, civilized and savage, lower and upper classes, among others. However, these themes are articulated to each other: for example, femininity or masculinity representations are crossed by social class, generation and ethnicity markers. The choices made by photographers and magazine, during photographic production and circulation, work like proposals of life models when representations are repeated over the years.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A ideia central da pesquisa foi promover uma aproximação das narrativas visuais de Getúlio Damado e Roger Mello e a partir daí evidenciar os processos cognitivos e as estratégias que envolveram a estruturação de suas identidades sociais e linguagens artísticas contemporâneas, bem como destacar o ludismo e o acesso ao universo da infância e a cultura popular que ambos ressignificam em suas obras. Além disso, buscou-se comentar e avaliar momentos específicos de desprestígio e repúdio versus consagração ocorridos com os artistas. Para tal, essas produções foram contextualizadas como produções culturais em constante processo de mutação, do qual participam tanto eventos históricos como de inovação tecnológica, em contínua construção. Essas linguagens estão submetidas a uma grande velocidade e a superposição de influências. Outro ponto destacado nas analises foi o caráter de subjetividade dessas produções, identificadas como práticas estéticas promotoras de transformação política; de mobilização; ou também por sua capacidade de operar com o uso simbólico dos brinquedos e livros infantojuvenis recuperando-lhes o uso original. Os devaneios, o ludismo infantil e a cultura popular presentes nos objetos feitos de sucata e livros ilustrados foram confrontados com práticas consoantes, ou de discursos abrangentes, correntes no mundo da arte ou outras vezes aproximados de enfoques locais. Além da possibilidade de convergência entre as produções foram destacadas também muitas diferenças, e, sobretudo evidenciadas as potencialidades que podem advir da cultura popular como campo exploratório de pesquisa, bem como de sua ressignificação / The central idea of the research was to reconcile the visual narratives of Getúlio Damado and Roger Mello and henceforth to highlight the cognitive processes and strategies involved in structuring their social identities and contemporary artistic languages, as well as to emphasize the playfulness, and access to the universe of childhood and popular culture to reframe both their works. Additionally, this paper tried to comment and evaluate specific moments of prestige and repudiation versus consecration occurred with these artists. To this end, these productions were contextualized as cultural productions in a constant process of mutation, which involved both historical events and technological innovation in continuous construction. These languages are subjected to a high speed and overlapping influences. Another point emphasized in the analysis was the character of subjectivity of these productions, aesthetic practices identified as promoters of political transformation, mobilization, or also by its ability to operate with the symbolic use of toys and childrens books recovering their original use.. Daydreams, the childish playfulness and the popular culture present in those objects made of waste and illustrated books were confronted with consonant practices or embracing speeches, currents in the world of art or sometimes familiar to local approaches. Besides the possibility of convergence between the productions of the two artists, the research also spotted many differences, and pointed out particularly the potentiality that can come from popular culture as an exploratory field of research, as well as its redefinition

The value of this research hinges on the idea that exchanging illustrations for descriptive text can provide appropriate schemas for students with reading difficulties and thereby improve their comprehension and vocabulary acquisition. The research in this dissertation is based on theories and earlier research in the fields of psychology, education, reading, and narratology. A review of these fields offers a variety of perspectives on the processes involved in reading and comprehension. These processes range from the physical systems involved in reading (e.g., early childhood development, eye movement) to the psychological systems, which include cognitive load theory as well as image and text processing models. This study compares two reading methods by analyzing students' vocabulary and comprehension gains. Both groups read the same text and completed the same pre- and post-tests. The control group read the text from the book which was text only. The experimental group read from a modified text on the computer screen. The text was modified by replacing some sentences with images designed to transmit the same information (e.g., descriptions of the setting, vocabulary items) in a graphic format. The images were in-line with the text, and designed to be read as part of the story, not as additional illustrations. Final analysis shows that the experimental format performed as well as the control format for most students. However, students who have learning disabilities, particularly language learners who have learning disabilities, did not make gains in the text only control format. These same students did show statistically significant gains with the experimental format, particularly the section of reading where the vocabulary words were explicitly presented in the images. Disparate, non-homogenous groupings of students reflect the actual teaching and learning circumstances in the school, as required by the school system. This situation thus represents the actual status quo situation faced by teachers in our school. We leave it to future researchers to work with more homogenous groups of students in order to attain clearer, stronger and more plaintively useful results.

Fondée en 1863,la Vie parisienne est une revue illustrée, galante et mondaine qui connut, jusqu'aux années 1930, un très grand succès. La thèse ici présentée s'attache à en retracer l'histoire, à en étudier le discours social, notamment sur les femmes, et son implication - problématique - dans le champ littéraire.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.

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La tesis que presentamos se centra en la importancia que la ilustración como categoría semiótico-discursiva establece en las colecciones literarias de novela corta, que triunfan en España en los años iniciales del siglo XX. En los cinco primeros capítulos, se plantean aspectos significativos del mundo de la imagen ilustrada: una aproximación al decurso histórico de la ilustración, a su consideración como medio de comunicación de masas, y a su relación con las disciplinas artísticas clásicas como pintura y la literatura. También se realiza un análisis generalizado del ámbito y el mercado en que tiene lugar el auge de las colecciones de novela corta en sus diferentes variantes. El capítulo VI se dedica a un estudio semiótico centrado en las consideradas siete grandes colecciones de novela corta: El Cuento Semanal, Los Contemporáneos, La Novela Corta, El Libro Popular, La Novela Semanal, La Novela de Hoy y La Novela Mundial. / The thesis that we defend is focused on the importance of the illustration, considered as a semiotic-discursive category, within the literary collections of short novel, those who had triumphed in Spain at the beginning of the twentieth century. In the first five chapters, we propose some significant aspects regarding the world of the illustrated image: an approach to the historic course of illustration, to its consideration as one form of mass media, and to its connection with the classic artistic disciplines such as painting and literature. Moreover, we carry out a general analysis of the cultural realm and market in which the different varieties of short novel collections reach their peak. Chapter VI is devoted to a semiotic study that is focused on the seven greatest short novel collections: The Weekly Tale, The Contemporaries, The Short Novel, The Popular Story Book, The Weekly Novel, Today's Novel and The Worldly Novel.

This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.

Société ”iconique” par excellence, les Provinces-Unies au XVIIe siècle sont un espace où la représentation graphique envahit le quotidien. Parallèlement, le mariage est une institution au cœur d’un processus de réhabilitation et de cristallisation confessionnelle de dispositions dogmatiques et disciplinaires. Il constitue en outre une expérience anthropologique fondamentale, dont chacun fait l’expérience, comme acteur ou spectateur. Dans cette perspective, les images du mariage innervent toute la culture visuelle de la société néerlandaise et sont au croisement d’enjeux sociaux, religieux et politiques, perceptibles à différentes échelles, par la symbolique qu’elles mettent en jeu et les usages sociaux qui en sont faits. Comment les différences confessionnelles s’y articulent-elles ? Comment les distinctions sociales s’y manifestent-elles ? Quels bénéfices symboliques les usages métaphoriques visuels du mariage permettent-ils d’obtenir pour les acteurs sociaux ? Enfin comment ces images fonctionnent-elles vis-à-vis du lecteur-spectateur ? A travers un corpus de sources très divers (livres ou brochures illustrés, feuilles volantes, mais aussi peintures ou médailles), la thèse répond à ces questions en examinant successivement comment les images accompagnent les discours prescriptifs sur le mariage, la façon dont elles sont mobilisées lors des noces des élites urbaines et lors de la célébration des noces princières, mais aussi comment elles permettent de donner métaphoriquement corps au lien entre le croyant et Dieu ou, paradoxalement, à celui entre le Prince d’Orange et la Patrie, dans un système politique revendiqué comme une République. / "Iconic" society par excellence, the United Provinces in the seventeenth century is a place where images play a tremendous role in daily life. Meanwhile, marriage is an institution at the heart of a rehabilitation process and of a differentiation process of confessional identities involving dogmatic and disciplinary provisions. It is also a fundamental anthropological experience, experienced by everybody in the society, be it as actor or spectator. In this perspective, the matrimonial images pervade the whole visual culture of Dutch society and are at the crossroads of social, religious and political issues, at different scales, through the symbolics they involve and the social uses they are submitted to. How are confessional differences articulated to them? How are social distinctions manifested? What symbolic benefits do social actors get out of visual metaphors of marriage? Finally, how do these images interact with the reader-viewer? Through a diverse corpus of sources (illustrated books or pamphlets, single-leaf engravings, but also paintings and medals), the thesis addresses these questions by examining successively how images accompany prescriptive discourses on marriage, how they are involved in the urban elites weddings and during wedding festivities for princes, but also how they can metaphorically embody the link between the believer and God, or, paradoxically, that between the Prince of Orange and the Fatherland, in a political system claimed to be a Republic.

This thesis examines the Swedish 19th century family magazine, Svenska Familj-Journalen, and the interaction between bourgeois attitudes, science, and depictions of animals. My main purpose is to demonstrate how image-text divergences can discover ruptures between 19th century bourgeoise ideology and science. The study consists of a selection of illustrations and texts, the majority being popular zoology depictions that were published in the magazine between 1877–1882. By using nature-culture oppositions as well as art historian Sonya Petersson’s concept of the counteractive illustration, I am able to elucidate differences between texts and images. The texts and images are subsequently analyzed by relating them to contemporary scientific discourses, as well as to the early Swedish animal welfare and nature conservation movements.  The results of this study are that image-text divergences reveal 1) that images of animals could depict the animal as such, rather than as a symbol of bourgeois ideals, 2) an insecurity in the magazine’s attitudes toward Darwin’s theory of sexual selection, illustrating circumstances where the magazine chose to adhere to its ideological dispositions rather than accept Darwinian consensus, 3) that the magazine, in publishing texts that were critical of wild life exploitation, diverged from its progress oriented narrative, and that its use of images counteracted these messages.