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1	Teorie hudebního znaku v peircovské perspektivě / The theory of musical sign in peircean perspective Budilová, Kristýna January 2018 (has links) In this diploma thesis I deal with the issue of a musical sign. My goal is to introduce theory of musical sign, which would primarily address the question of its object. It seems that the object of the musical representation is the most problematic part of this thesis. I have based my arguments on theories of Eduard Hanslick, Susanne Langer and Felicia Kruse. Also, the emotions are heavily connected to this question. I attempt to find out if emotions may be the actual object of musical sign and what should its character be. I do so through a critical assesement of the above mentioned theories. The hypotethical outcome of this thesis such theory of musical sign which would address the dilema of musical emotions but also a paradox of composer - listener part in musical representation.
2	Sémiotique textuelle et titrologie : Interactions sémantiques entre titres et oeuvres dans le Grand Malentendu de Yasmina Khadra / Textual semiotics and titling : Semantic interactions between titles and literary works in Yasmina Khadra's Big Misunderstanding Bavekoumbou, Marius 15 January 2016 (has links) L’ambition de François Rastier est d’unifier le mot, la phrase et le texte au sein d’une sémantique interprétative coordonnée en paliers textuels micro, méso et macrosémantiques. L’œuvre en tant que totalité signifiante se définit par la somme de ses parties, et le titre par la somme de ses traits (morphèmes, lexies, sémèmes, etc.). Pour cette thèse que nous présentons sur les interactions sémantiques entre titres et œuvres, il s’agit de rechercher la production, la dissémination, la propagation / distribution des traits sémantiques et tensifs impliqués par le titre. La nécessité étant de comprendre du point de vue textuel le sens des sémèmes. Nous exploitons donc la sémantique interprétative de François Rastier et la sémiotique tensive de Claude Zilberberg comme cadres théoriques en analysant le titre d’un texte comme une condensation ou groupement structuré de sèmes. Notre hypothèse de travail étant que le titre est un interprétant pour l’œuvre. L’interprétant, ce sont des données (savoirs) sémiotiques qui permettent de construire une interprétation. Le titre permet d’actualiser, de virtualiser ou de changer le degré de saillance de l’œuvre. On se demande en problématique comment les sèmes d’un titre sont générés dans les unités de complexité comme le corpus ? Quels sèmes des titres sont inhérents / afférents, actualisés / virtualisés, spécifiques / génériques et quels sont les degrés de systématicité (idiolectal, relations réflexives, transitives et semi-symboliques) qui les structurent ? / The ambition of Francis Rastier is to unify word, sentence and text into an interpretive semantics structured in micro, meso and macro semantic levels. A literary work is defined as a totality of meaning, and its title as lots of features (morphemes, lexical and semantic features). In this thesis on semantic interactions between title and literary work, the aim is to study the production, the dissemination, spread /distribution of semantic and tensive features involved by the title. To understand the meaning of semantic features in a textual point of view, we choose Zilberberg theorical frames. The title is considered as a condensation of a structured organization of semantic features. We work on the hypothesis that the title is one of the interpretants of a literary work. Those interpretants give semiotic information on interpretation. The title allows actualize, virtualize and change the saliency level. The question is how semes of the title are generated as units in a complex and holistic corpus? Which semes of the title are inherent/afferent, actualized/virtualized, specific/generic and what are their systematic structuring levels (idiolectal, reflexive or transitive relations, semi-symbolism)? Sémiotique tensive Interprétant Titre Tensive semiotic Interpretant Title 401.41
3	Os conceitos de representação e recursividade na obra do jovem Peirce Amaral, Gustavo Rick 19 December 2014 (has links) Made available in DSpace on 2016-04-29T14:23:33Z (GMT). No. of bitstreams: 1 Gustavo Rick Amaral.pdf: 3226318 bytes, checksum: a3a2077e0753d164a9e77f4062405484 (MD5) Previous issue date: 2014-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis addresses the type of definition or characterisation used by Peirce to formulate a central concept within his semiotics: the concept of representation. Analyses carried out to support this thesis are limited to Peirce's texts from the end of the 1860s, an era in which Peirce's thinking begins to detach itself from his Kantian matrix and take on its own features. The focus of all research conducted in support of this thesis is the logical element of Charles S. Peirce s philosophical system, i.e. the argumentative structuring developed by the philosopher to validate the theories offered as responses to philosophical problems. Differently from dyadic approaches developed to explain the workings of a representation process, the conception of representation elaborated by Peirce within semiotics is triadic and such difference is far from merely numerical. Our thesis is that, with the introduction of this third element (the interpretant), characterisation of the concept of representation (elaborated within Peircean semiotics) becomes recursive by necessity and such characterisation is an in-built requirement of the theory that Peirce intends to offer as an answer to what he considered to be the central issue of philosophy: how is synthetic (i.e. ampliative) reasoning possible or, from another angle, how is it possible for knowledge to grow? With a view to proving our thesis in respect of the necessity for this type of conceptual characterisation within the Peircean philosophical project, we have dedicated a significant part of this text to the task of establishing not only that semiotics is central to such a project, but also to demonstrating that some central semiotic theses are a direct result of the fact that the concept of representation has been defined or characterised in a recursive manner. These central theses were termed elementary theses (of semiotics): "there is no first sign (in an interpretative process)" and there is no last sign (in an interpretative process)". Therefore, to render the theoretical solution found by Peirce sustainable for the (what he considered to be) central issue of philosophy, the two elementary theses referred to above must be established within semiotic theory (developed by Peirce himself), and their establishment depends on the recursion found within the concept of a sign or of a representative process (and introduced by the concept of interpretant). Our thesis is, therefore, precisely that the characterisation or definition of the concept of representation at the heart of the Peircean semiotics sign concept is necessarily recursive, because without such recursion it would simply be impossible to derive the two elementary theses of semiotics / Esta tese versa sobre o tipo de definição ou caracterização que Peirce utilizou para construir um conceito central dentro de sua semiótica: o conceito de representação. As análises que foram desenvolvidas para sustentar esta tese se limitam aos escritos peirceanos do final da década de 1860, época em que o pensamento de Peirce começa a se afastar de sua matriz kantiana e ganhar contornos próprios. O foco de toda a pesquisa realizada para a sustentação desta tese é o elemento lógico do sistema filosófico de Charles S. Peirce, i.e., a estruturação argumentativa desenvolvida pelo filósofo para validar as teorias que são oferecidas como respostas a problemas filosóficos. De modo diverso das abordagens diádicas desenvolvidas para explicar o funcionamento de um processo de representação, a concepção de representação elaborada por Peirce dentro da semiótica é triádica e esta diferença está longe de ser meramente numérica. Nossa tese é que, com a introdução desse terceiro elemento (o interpretante), a caracterização do conceito de representação (elaborado dentro da semiótica peirceana) torna-se necessariamente recursiva e este tipo de caracterização é uma exigência interna da teoria que Peirce planeja oferecer como resposta ao que considerou ser o problema central da filosofia: como são possíveis os raciocínios sintéticos (i.e., ampliativos) ou, sob outro ângulo, como é possível haver crescimento do conhecimento? Com intuito de provar esta (nossa) tese a respeito da necessidade deste tipo de caracterização conceitual dentro do projeto filosófico peirceano, dedicamos parte considerável deste texto à tarefa de estabelecer não apenas que a semiótica é central para tal projeto, mas também estabelecer que algumas teses centrais dentro da semiótica são decorrência direta do fato do conceito de representação ter sido definido ou caracterizado de forma recursiva. Estas teses centrais foram denominadas de teses elementares da semiótica: "não há primeiro signo (num processo interpretativo)" e "não há último signo (num processo interpretativo)". Então, para que seja sustentável a solução teórica encontrada por Peirce para o (que considera o) problema central da filosofia, estas duas teses elementares acima referidas têm que ser estabelecidas dentro da teoria semiótica (desenvolvida pelo próprio Peirce), e o estabelecimento destas teses depende da recursividade que é encontrada dentro da concepção de signo ou de processo representativo (e é introduzida pelo conceito de interpretante). Portanto, a nossa tese é justamente que a caracterização ou definição do conceito de representação que está no coração do conceito de signo da semiótica peirceana é necessariamente recursiva, pois sem esta recursividade, simplesmente não seria possível derivar as duas teses elementares da semiótica Representação Recursividade Interpretante Cognição Semiótica Peirce Representation Recursion Interpretant Cognition Semiotics CNPQ::OUTROS
4	Des vies habitées par un rêve : Voltaire et Brecht dans trois fictions biographiques de Jacques-Pierre Amette / Lives inhabited by a dream : Voltaire and Brecht in three biographical fictions by Jacques-Pierre Amette. Gibert Ledot, Gwenaelle 18 June 2018 (has links) Plusieurs ouvrages de Jacques-Pierre Amette centrés sur de grandes figures d'écrivains (au premier rang desquels Brecht et Voltaire) font l'objet de cette thèse. Ils ressortissent au genre de la fiction biographique et l'intertextualité y joue un rôle constitutif. La question de la référence, et plus exactement de la relation complexe que la fiction biographique entretient avec le référent historique, constitue l'un des pivots de la réflexion. Le processus de fictionnalisation du vécu et de l'œuvre (ainsi que des discours critiques inspirés par elle), qui est au cœur des interrogations actuelles sur le genre de la biographie romancée, est envisagé ici à la lumière d'un nombre important de travaux récents, dont les thèses sont exposées et mises à l'épreuve systématiquement. L'un des enjeux de cette étude est de tenter de décrire ce qui fait la spécificité du traitement de ce genre par J.-P. Amette. L'hypothèse envisagée est que cette spécificité pourrait tenir à l'investissement, selon des modalités particulières, du mythe d'Icare dans la représentation de l'Ecrivain, Au sein de cette interprétation, dont la démonstration s'appuie pour les interroger sur les propositions de la sémiotique riffaterrienne de l'intertextualité, prend place un questionnement de la figure auctoriale, qui renvoie à l'une des préoccupations majeures de J.-P. Amette, à savoir le statut de l'écrivain contemporain. / Several works by Jacques-Pierre Amette, which focus on great writers such as Brecht and Voltaire, comprise the subject of this dissertation. They arise out of the genre of biographical fiction, and intertextuality plays an essential role in them. The question of reference generally, and more particularly the complex relationship between biographical fiction and the historical referent, constitutes a primary area of reflection. The process of fictionalization of lived experience and the literary work (as well as critical discourses inspired by it), which is at the heart of current analyses of the fictionalized biography, is envisioned here in light of numerous recent works, the main arguments of which are explored and systematically challenged. One of the purposes of this study is to attempt to describe the specificity with which J-P Amette treats this genre. The hypothesis set forth is that this specificity could privilege the myth of Icarus as a representation of the writer, according to particular modalities. At the heart of this interpretation, the demonstration of which will involve an interrogation of Riffaterrianne semiotics of intertextuality, an examination of the authorial figure emerges, which reiterates one of Amette’s major preoccupations, namely the status of the contemporary writer. Littératures comparées Biographie Fiction Référentialité Interprétant Représentation Biography Fiction Referentiality Intertextuality Interpretant Representation
5	Semiotics of Humanitarian Photography Paglamidis, Konstantinos January 2013 (has links) Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fund-raising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fund-raising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development. humanitarian photography semiotics fund raising sign representamen interpretant signifier signified visual sign visual paradigm anchoring relay zero sign index symbol icon war photography mythology visual rhetoric Social Sciences Samhällsvetenskap
6	Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslor Jägerskog, Mattias January 2010 (has links) <p>The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper <em>Expressen </em>and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol.</p><p>Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence <em>decoders</em> of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding.</p><p>The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned.</p><p>In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol.</p> climate change nature environment climate internet media Expressen Gary Braasch visualization images photographs emotions feelings fear hope guilt compassion nostalgia truth myth semiotics archetypes icons index symbol Höijer iconographic sign interpretant object decoding generic anchoring objectification ecophobia context klimatförändringar natur miljö klimat internet media Expressen Gary Braasch visualisering bilder foton känslor rädsla hopp skuld medlidande nostalgi sanning myt bildsemiotik semiotik urbilder ikon index symbol Höijer ikonologisk ikonografisk preikonografisk tecken interpretant objekt avkodning generiska förankring objektifiering ekofobi kontext Media and communication studies Medie- och kommunikationsvetenskap
7	Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslor Jägerskog, Mattias January 2010 (has links) The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper Expressen and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol. Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence decoders of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding. The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned. In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol. climate change nature environment climate internet media Expressen Gary Braasch visualization images photographs emotions feelings fear hope guilt compassion nostalgia truth myth semiotics archetypes icons index symbol Höijer iconographic sign interpretant object decoding generic anchoring objectification ecophobia context klimatförändringar natur miljö klimat internet media Expressen Gary Braasch visualisering bilder foton känslor rädsla hopp skuld medlidande nostalgi sanning myt bildsemiotik semiotik urbilder ikon index symbol Höijer ikonologisk ikonografisk preikonografisk tecken interpretant objekt avkodning generiska förankring objektifiering ekofobi kontext Media and communication studies Medie- och kommunikationsvetenskap

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