Thesis (Ph. D.)--Carleton University, 1995. / Also available in electronic format on the Internet.

Thesis (M. Arch.)--Carleton University, 2001. / Includes bibliographical references (p. 130-137). Also available in electronic format on the Internet.

Thesis (B.A. in Visual and Critical Studies) -- School of the Art Institute of Chicago, 2010. / Thesis advisor: Maud Lavin. Includes bibliographical references.

Typescript. Includes bibliographical references.

Thesis (Ph.D.)--Ohio University, March, 2006. / Includes bibliographical references (leaves 153-164)

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 99-101).

Orientador: Clice de Toledo Sanjar Mazzilli / Resumo: o presente trabalho propõe um olhar diferente para estudos já existentes sobre tipografia: além da linguagem técnica dos designers, há idéia da percepção estética do uso da tipografia presente em veículos de comunicação visual impressa selecionando-se catálogos de informativos culturais. O recorte final foi a escolha de catálogos de exposições ocorridas na Pinacoteca do Estado de São Paulo, a partir do ano 2000. Os catálogos selecionados foram divididos em quatro grupos, estes com características visuais reconhecidas na análise individual e também comparando-se como grupo. Apresentam-se também dados histórico e técnico sobre origens e aplicações recomendadas de fonte tipográficas, bem como um panorama da evolução da tipografia no século XX. / Abstract: This work proposes a different look in already researches about typography: also whit designer's techical language, there is an esthetic perception idea in typography use as saw as press media, visual communication- choosing cultural publications press media. The final selection was the choise of press cultural informatives publications of expositions occured at Pinacoteca do Estado de São Paulo, after the 2000 year. The publications selected was arranged in four groups, visually knowing by individual analysis and comparing like other pieces as group. It also presents, historical and technical dates about the beggining and recommended applicances for typography fonts, as well as an evolution viewing of typography in 20th century. / Mestre

Scandinavia is famous for their Viking ships and their raids during the 9th century. However, the Scandinavian society was widely divided between the ruling forces. There are a lot of evidence for conflicts within the Viking world, with both written sources, stories and archaeological records speaking for it. As the ship, and travel by water, was one of the most efficient ways of travelling, widely used within all of Iron Age Scandinavia, this paper seeks to explore the possibilities of a maritime defense system within the central Viking society using place names and GIS. Uppland, as one of the most influential areas in Scandinavian Iron Age, hosting sites as Vendel and Gamla Uppsala, the use and need of a maritime defense would have been, due to the risk of conflict, vital.

Political parties use different strategies to convince voters to vote for them, and with the technological evolution of our time short movie clips are used, now more than ever before, to accomplish these kinds of tasks. However, a political movie clip that separates itself from other political movie clips is Jimmie Åkesson – Snart är det val. This clip is not trying to persuade the voter to vote for the Sweden democrats because of their political plans, instead it tries to convince the voter of a threat that can destroy Sweden in the nearby future if the voter doesn’t vote for the Sweden democrats in the coming election. This essay seeks to investigate how Jimmie Åkesson – Snart är det val constructs this threat, how the threat becomes realistic and in what ways the threat is used in the movie clip to convince the Swedish voter to vote for the Sweden democrats. To investigate this the essay uses a semiotic analysis to dissemble the movie clip in order to understand how the threat is constructed. Furthermore, rhetorical perspectives such as identification, visualizing rhetoric, ethos, pathos, logos and figures of style are used to discuss how the threat becomes realistic and how it is used to win votes. The conclusion of the essay is that the movie clip constructs two different threats in two different realities by using semiotic resources such as fast shifting scenes, documenting images, music, sounds, environments, characters and a narrating voice in a projecting narrative. More specifically these resources create a true dark reality and a happy delusional reality. In these two realities, the two different threats are found. The first threat is the immigrants that are illustrated as an enemy that destroys Sweden and thus creates the true dark reality where the voters and the Sweden democrats also are illustrated. The other threat is other political parties in Sweden and the Swedish media because they are illustrated in the happy delusional reality and therefore can’t help the voter that is portrayed in the true dark reality. In that sense, the two threats are used to convince the voter to vote for the Sweden democrats because they are the only political party that is located in the true dark reality and therefore are the only ones that understand and can solve the problem that causes the true dark reality. Furthermore, these threats become more realistic by enforcing an emotion of fear for the true dark reality with semiotic resources and also by concretizing this reality with documenting images, characters and sounds. These threats also become more realistic because the semiotic resources create imagistic arguments that allows the mind to take shortcuts when conclusions are made.

It continues a theoretical reflection started with her master degree thesis about visuality as a feature of contemporary culture. It tries to explain what is meant by visual culture from the analysis of the social field of “seeing”. First, it presents the concept to, then, develop three analysis perspectives: the “seeing” that builds meaning, the “seeing” that sees the Other, and the “seeing” with which the subject sees himself.Visual culture organizes the daily action of the subject and creates meaning. The visual has been gaining space in the daily life of people. It has move from a marginal place, reserved for rituals and special performances, to fulfill a key role today that relates to identity and the way people learns. Everyday life has taken a visual twist that makes the “seeing” and life itself, practices qualitatively different to how they used to be before. / La autora continúa una reflexión teórica iniciada en su tesis de maestría sobre la visualidad como una característica de la cultura contemporánea. Busca explicar qué se entiende por cultura visual partiendo del análisis del campo social de la “mirada”. Primero presenta el concepto, para luego desarrollar tres perspectivas de análisis: la “mirada” que construye significado, la “mirada” que ve al Otro y la “mirada” con la que el sujeto se ve a sí mismo. La cultura visual organiza la acción diaria del sujeto creando significado. Lo visual ha ido ganando espacio en la vida cotidiana de las personas. De un lugar marginal, reservado a rituales y representaciones especiales, ha pasado hoy a cumplir un rol preponderante que se vincula con la identidad y la forma de conocer. Lo cotidiano ha tomado un giro visual que hace de la “mirada” y de la vida misma prácticas cualitativamente diferentes a cómo eran antes.