Ankara, being the capital, has been the most important city for the New Modern Turkish State on its way of establishing the modernity project of Turkey. The development of the urban planning projects proceeded on the basis of this aimed concept of the new society, carrying the privilege of being the symbol of the modern republic, prosperity and wealth. Ke&ccedil / i&ouml / ren is one of the main districts of Ankara. The main aim of this study is to analyze and describe the ideological departure of Ke&ccedil / i&ouml / ren from the concept of the &ldquo / modern&rdquo / Ankara, within the last ten years. Here the attitude of the municipality and its role as the agent of civil power leading the architectural and urban transformation of Ke&ccedil / i&ouml / ren from a district full of gecekondu to one full of &ldquo / decorated sheds&rdquo / will be discussed. Here, the term &ldquo / decorated shed&rdquo / , introduced by Robert Venturi, will be used for the explanation of the new architectural and urban elements Furthermore, the attitude of the society and the architects and contractors who are responsible for the actual case will be brought into argumentation. In this sense, other subsidiary terms will be used to explain the process of the case are / populism and politics, nationalism, the ideology of the Turkish nation (T&uuml / rkl&uuml / k), Turanism, Islamism and orientalism. Additionally, an important building in the district, the Estergon Castle, which has different characteristics from the other parts of the district, will be explained with the terms &ldquo / hyper-reality&rdquo / and &ldquo / kitsch&rdquo / by the explanations of Umberto Eco and Dorfles.

This study was designed to determine the general volume of multi-image production in Dallas County, Texas from 1979 through 1981 as categorized by: the presentation, number of projectors utilized, and by relevant aspects of presentation with analysis of 85 respondents. The questionnaire yielded 633 variables in the computer analysis. The study revealed significant growth in multi-image production with the 1981 total being more than twice the 1979 total. 1988 consensus indicates that the multi-image use is dictated by the business climate. Having been adopted initially, it is retained by those who find it effective and a suitable medium for larger screens.

Made available in DSpace on 2015-04-11T13:41:40Z (GMT). No. of bitstreams: 1 Graciene _Siqueira.pdf: 2489522 bytes, checksum: bd087e1a5255602fcaa9049e5730b839 (MD5) Previous issue date: 2011-05-16 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study aimed to analyze the benefits and limitations of using digital technology in the development / production and distribution of cinema in Manaus. First stood the image production in contemporary society, a process examined by authors such as Nöth and Santaella (2008), Virilio (2002), Couchot (1993) and Dubois (2004), showing the main changes in the image production, suggesting a division from the technique used in this task by discussing how it interferes with the formation of image, starting with the photographic image to the image synthesis, computergenerated. Based on Machado (1997, 2008), Baudrillard (1991) and Santaella (2003) it was discussed the main features of the synthesized image and how it changed the landscape of visual art, especially cinema. Through Mattos (2006), Manovich (2001) Lipovetsky and Serroy (2009) it was analyzed the key technical developments in film, including sound and color, and then we get to image synthesis, their benefits and limitations. We then discussed the democratic aspect made possible by digital technology as a possible emergence of new producers to provide multiple image capture devices, creating new viewports productions, among others, providing the development of a film culture. As for the methodological approach, the research conducted survey descriptive / critical conditions of film production in Manaus, the use of questionnaire and interviews with the independent filmmakers. / O estudo objetivou analisar os benefícios e limitações do uso da tecnologia digital no desenvolvimento/produção e distribuição da cinematografia em Manaus. Primeiramente situou-se a produção imagética na contemporaneidade, processo analisado por autores como Nöth e Santaella (2008), Virilio (2002), Couchot (1993) e Dubois (2004), apontando as principais transformações na produção da imagem, propondo uma divisão a partir da técnica utilizada nessa tarefa, discutindo de que forma ela interfere na constituição imagética, iniciando pela imagem fotográfica até a imagem de síntese, gerada por computador. Já em Machado (1997;2008), Baudrillard (1991) e Santaella (2003) discutimos as principais características da imagem de síntese e de que forma ela modificou o cenário das artes visuais, especialmente o cinema. Por meio de Mattos (2006), Manovich (2001) e Lipovetsky e Serroy (2009) analisamos as principais evoluções técnicas no cinema, entre elas o som e a cor, para então chegarmos à imagem de síntese, seus benefícios e limitações. Discutimos a seguir o aspecto democrático da tecnologia digital como possibilidade do surgimento de novos produtores de imagens ao disponibilizar vários dispositivos de captação, a criação de novas janelas de exibição das produções, entre outros, propiciando o desenvolvimento de uma cultura cinematográfica. Quanto ao aporte metodológico, a pesquisa realizou um levantamento descritivo/crítico das condições de produção cinematográfica em Manaus, com a aplicação de questionário e de entrevistas junto aos realizadores independentes.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-09-20T11:13:12Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Marta Helena Batista Machado de Sales - 2016.pdf: 3322280 bytes, checksum: c63b9f1cb789be5c7032f98577c2ce33 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-20T11:59:50Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Marta Helena Batista Machado de Sales - 2016.pdf: 3322280 bytes, checksum: c63b9f1cb789be5c7032f98577c2ce33 (MD5) / Made available in DSpace on 2016-09-20T11:59:50Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Marta Helena Batista Machado de Sales - 2016.pdf: 3322280 bytes, checksum: c63b9f1cb789be5c7032f98577c2ce33 (MD5) Previous issue date: 2016-08-26 / When referring to the production of images contained in the textbooks of history, then we face the difficulties that students feel to interpret, assimilate and be guided by the images that are presented there. A fact noticed in the work done with students in the classroom. To what extent the different imagery materialities conveyed in textbooks are appropriate, integrate or help in the construction of teaching / learning in the history of the area, making it easier the development of knowledge? Objective of this research, investigate and discuss how imagistic presentations are significant and open to interpretation by the student. With the production of textbooks, teachers and students come up against the difficulties to come across a material that does not prioritize their social space, universalizing content, supplementary texts, images, documents and worldviews; a material which did not have access to your building process and that does not meet all students equally; a friendlier learning materials for the publishing industry than concerned with the formation of citizenship and humanization of education. Methodologically, I try to think about and discuss the production and distribution of textbooks, paying attention to the ills surrounding its making and its own building, which is political. Also, try to also discuss the role of this cultural object, as necessary to the teachers and students, whether in their political intentions as in their representations and also think about the different conveyed imagistic materialities in the textbook that can help in the construction of teaching and learning in the area of History thus making it more accessible to develop the knowledge, seeking to make a reflective and critical analysis of experiences situations (everyday images) and teaching-learning, from historical knowledge. For this, we seek support in different authors that address the role of the textbook, as well as being just a teaching support material, but also as an instrument that conveys cultural, political, economic; in authors who discuss the history and social representations; semiotics, as an approach to image analysis; and yet, the authors discuss the Visual Culture, through the study of the visual arts, as props, to understand how our students seek and realize the images around them and in the classroom. All these studies lead to realize that beyond the image there is a plethora of information that often are not present at the scene of an image, but are given as signs, world representations, social meanings and represent a certain period and are represented in time and the historiographical space to which this analyzing. This perception runs through the function only to observe the image; It involves study, discussions and takes the passivity of contemplation and in places with a more dynamic stance, critical front of the work of art study, be it painting, cartoon or charge. / Quando nos referimos à produção de imagens contidas nos livros didáticos de História, logo nos deparamos com as dificuldades que os discentes sentem em interpretar, assimilar e se orientar pelas imagens que ali estão apresentadas. Fato este percebido nos trabalhos realizados com os discentes em sala de aula. Até que ponto as diferentes materialidades imagéticas veiculadas no livro didático são apropriadas, integram ou ajudam na construção do ensino/aprendizagem na área de História, tornando mais acessível o desenvolvimento do saber? Objetiva-se nesta pesquisa, investigar e discutir como as apresentações imagéticas são significativas e passíveis de interpretação pelo discente. Com relação à produção de livros didáticos, docentes e discentes esbarram nas dificuldades de se deparar com um material que não prioriza seu espaço social, que universaliza conteúdos, textos complementares, imagens, documentos e visões de mundo; um material ao qual não tiveram acesso no seu processo de construção e que não atende a todos os alunos igualmente; um material didático mais voltado para a indústria editorial do que preocupado com a formação de cidadania e humanização do ensino. Metodologicamente, procuro pensar e discutir a produção a e distribuição do livro didático, atentando para as mazelas que envolvem sua confecção e sua própria construção, que é política. Também, procuro discutir ainda o papel deste objeto cultural, tão necessário a docentes e discentes, seja em suas intenções políticas como em suas representações e também pensar as diferentes materialidades imagéticas veiculadas no livro didático que podem ajudar na construção do ensino aprendizagem na área de História, tornando assim mais acessível o desenvolvimento do saber, procurando fazer uma análise reflexiva e crítica de situações de vivências (imagens cotidianas) e de ensino-aprendizagem, a partir do conhecimento histórico. Para isso, busco apoio em diferentes autores que abordam o papel do livro didático, para além de ser apenas um material de apoio pedagógico, mas ainda como um instrumento que veicula valores culturais, políticos, econômicos; em autores que discutem a História e as representações sociais; a semiótica, como abordagem para análise de imagens; e ainda, de autores que discutem a Cultura Visual, através do estudo das visualidades, como suportes, para entender como nossos alunos buscam e percebem as imagens à sua volta e na sala de aula. Todos esses estudos levam a perceber que para além da imagem existe uma infinidade de informações que muitas vezes não estão presentes na cena de uma imagem, mas constam como signos, representações de mundo, significações sociais e representam um determinado período e estão representadas no tempo e no espaço historiográfico ao qual se esta analisando. Esta percepção perpassa a função apenas de observar a imagem; envolve estudo, discussões e nos tira a passividade da contemplação e nos coloca com uma postura mais dinâmica, crítica frente à obra de arte em estudo, seja ela pintura, caricatura, desenho ou charge.

This thesis examines the transmission and reception of images in Le Roman de la rose manuscripts and printed editions of the late fifteenth and early sixteenth centuries. Through in-depth case studies, I analyse how illustrators, editors, and readers used printed imagery in Rose books ca. 1481-1538, during the period of Rose printed edition production, exploring wider cross-disciplinary issues concerning the history of the book, the relationship between word and image, and readership practices following the advent of French printing. I argue that the mobility of printed imagery, which was facilitated in part by the wider dissemination of woodcuts in workshops, influenced the form and function of images in books. In addition, I problematize the 'transition' from manuscript to print in the later Middle Ages, through an investigation of artisans' personal and professional collaborations and evidence of image sharing between hand-illustrated and printed books. Bookmakers and readers used printed imagery in fascinating ways in books, appropriating and modifying woodcuts in order to engage with certain subjects and motifs. Readers' visual responses to books are under-examined, and I assess how readers' drawings add insight into their understanding of printed editions and those editions' visual iconography. French books contain a large body of evidence pertaining to image production and reception, but printed imagery is often overlooked, despite its potential to shed light on the practices of illustrators, editors, and readers. I provide new strategies for examining patterns of printed image production, circulation, and reception in the visual presentations of manuscripts and printed editions of this period. I also deepen understanding of the Rose and its consumption in the later Middle Ages and Renaissance, probing the role of images in books.