The purpose of this study was to determine the preferences of two racial and two socio-economic groups for selected aspects of class-oriented reading materials. This was accomplished by checking each subject's visual perception of pictorial representations typical of both the lower-class and the middle-class, and by checking his preferences of story themes typical of both the middle and lower-classes.

M.A. / South Africa is a multiracial and multicultural society, and the diversity of languages reflect a complex and differentiated nation. This investigative study attempts to show how South Africans from different cultural and linguistic groups experience the humour in the Madam & Eve comic strips and whether, to some extent, they share a common sense of humour. The study starts with an investigation into the relationship between culture and language through the Sapir and Whorf hypothesis. Furthermore the study discusses the relationship between culture, language and humour to show that humour is in many instances culture specific. In culture-specific humour, the humour tends to be at the cost of people from a different cultural group; thus “we” can laugh at “them”. The study also defines humour and investigates the working of humour through the superiority theory, the relief theory and the incongruence theory. The discussion shows that participants in humour need to share the right context and knowledge before they can enjoy the humour. The study looks at comic strips as a genre and how humour operates in comic strips. The investigation also discusses the background on and the characters in the Madam & Eve comic strips. The discussion shows the humour in the Madam & Eve comic strips depicts social issues, racial relationships, especially the relationship between the white Madam, her elderly mother and the black Eve, crime in South Africa and politics. An empirical survey serves as the vehicle to investigate how respondents from different cultural and linguistic backgrounds experience the humour in Madam & Eve. The different examples were chosen to see if respondents experienced certain types of humour depicted in the comic strips in a negative way. The study includes analysis of the different racial and linguistic groups’ experience of the humour depicted in the comic strips included in the questionnaire to show differences in different groups’ experiences. Although some of the respondents took a more neutral stance to some of the ethnic humour depicted in Madam & Eve, generally speaking the respondents experienced the humour depicted in the comic strips in a positive way.

Cette thèse porte sur l’application des images multispectrales pour l’analyse des matériaux utilisés dans une peinture par comparaison avec la photographie traditionnelle de fluorescence induite par rayons UV et la réflectoraphgie infrarouge. L’application des images multispectrales à l'étude des matériaux picturaux a été appuyée par d'autres techniques analytiques telles que la spectroscopie de réflectance et de fluorescence, la spectroscopie de fluorescence X, la spectroscopie d'absorption UV-visible et la spectroscopie infrarouge transformée de Fourier en réflectance totale atténuée. L’imagerie multispectrale a été testée comme outil de laboratoire d’identification des matériaux picturaux. Ainsi, des couches de peinture constituées de pigments (anciens et modernes), de liants (œufs et l’huile de lin) et de vernis naturels ont été analysées. Pour les matériaux organiques, des expériences de vieillissement accéléré (photodégradation et dégradation thermique) ont permis de modéliser les changements optiques et chimiques intervenant au cours de la vie d’un tableau. De plus, une analyse diagnostique a été réalisée sur deux tableaux conservés à « Accademia di San Luca » (Rome) par photographie de fluorescence induite par rayonnement UV, radiographie, spectroscopie de réflectance, spectroscopie de fluorescence X, images de fluorescence UV et réflectance multispectrale, réflectographie infrarouge multispectrale. Par rapport aux techniques traditionnelles, les images multispectrales permettent d’analyser de nombreuses régions spectrales qui, dans certains cas, permettent d’identifier le pigment et/ou des zones non homogènes de la couche superficielle picturale. Certaines gammes de longueurs d’onde infrarouge permettent notamment de voir les détails des différentes couches préparatoires, amenant à une analyse plus précise de la technique d’exécution. Cependant, une des limites des images multispectrales concerne l’identification des mélanges complexes et/ou des différentes strates de matériaux en fonction du type de filtre utilisé. / This thesis focus on the application of multispectral images for the analysis of pictorial materials in comparison with the traditional UV-fluorescence photography and infrared reflectography. The assessment of multispectral imaging for the study of pictorial materials was supported by other analytical techniques such as reflectance and fluorescence spectroscopy, X-Ray Fluorescence (XRF), UV-visible absorption spectroscopy and Total Attenuated Reflectance - Fourier Transform Infrared Spectroscopy (ATR-FTIR). The multispectral imaging was tested on swatches of pictorial layers (constituted by ancient and modern pigment), binders (egg and linseed oil) and natural varnishes. For the organic materials, accelerated ageing methods (photo-chemical and thermal degradation) were used to model the optical and chemical changes occurring during the lifetime of a painting. In addition, a diagnostic investigation was performed on two paintings placed in "Accademia di San Luca" (Rome) by means of UV-fluorescence photography, radiography, reflectance spectroscopy, X-ray fluorescence spectroscopy, UV-VIS-NIR multispectral imaging. Multispectral images, comparing to traditional techniques, permit to individuate specific spectral behaviors, and, in some cases, identify the pigment and/or non-homogeneous areas of the pictorial or varnish layers. The possibility to select some infrared wavelengths allows to see details of the preparatory layers, leading to a more accurate analysis of the technique of execution. However, the limitations of multispectral images for the identification of complex mixtures and/or different layers of materials depending on the type of filter used.

Esforçamo-nos por realizar uma leitura com ferramentas multidisciplinares na busca por transcender o reducionismo e os excessos de formalidades e de subjetivismo na abordagem do objeto arte, aproximando esta da ciência. Como objeto de estudo, selecionamos uma pequena parte da arte russa com o objetivo primordial de lê-la como uma narrativa pictórica. A partir disso, tratamos a pintura artes plásticas como uma narrativa que, por ser uma linguagem, porta as seis funções. A elaboração da narrativa pictórica, ao reunir inspiração, intuição e dedução, observações perceptivas racionais e emocionais, além de promover um predomínio da função poética, se vale da aplicação de leis estéticas comuns às artes plásticas não apenas da Rússia, mas à arte produzida em qualquer país. As seis funções da linguagem de Roman Jakobson e as nove leis da estética de Vilayanur S. Ramachandran são conjuntamente as chaves da nossa leitura. Na medida em que se baseia em leis universais da estética e da arte assim chamadas porque remetem à habilidade presente em todos os cérebros humanos que se desenvolvem normalmente , tal leitura, sem destituir o papel da cultura ou da individualidade do artista, centra-se não na diferença entre os vários estilos artísticos, mas em princípios que transcendem as barreiras culturais. Por essa razão, ao considerar a existência dos universais artísticos da neuroestética, consideramos também a ocorrência da convergência poética como uma afinidade artística entre os agentes expressivos que possuem elementos similares em sua realidade circundante para expressar sua mensagem. / We endeavoured to carry out a reading with multidisciplinary tools in the quest to transcend reductionism and the excesses of formalities and subjectivism in the art object approach, bringing art near to science. As object of study we select a small part of Russian art with the primordial objective of reading it as a pictorial narrative. From this, we treat painting plastic arts as a narrative that, because it is a language, bears the six functions. The elaboration of the pictorial narrative by gathering inspiration, intuition and deduction, rational and emotional perceptual observations, besides promoting a predominance of the poetic function, uses the application of aesthetic laws common to the plastic arts, not only of Russia, but to the art produced in any country. Roman Jakobsons six functions of language and Vilayanur S. Ramachandrans nine laws of aesthetics are together the keys of our reading. Insofar as it is based on universal laws of aesthetics and art so called because they refer to the ability present in all human brains that normally develop such a reading, without depriving the role of culture or the individuality of the artist, focuses not on the difference between the various artistic styles but on principles that transcend cultural barriers. For this reason, when considering the existence of the artistic universals of Neuroaesthetics, we also consider the occurrence of poetic convergence as an artistic affinity between expressive agents who possess similar elements in their surrounding reality to express their message.

Desde Horácio e sua célebre expressão Ut pictura poesis, diversos autores tentaram estabelecer um paralelo entre a literatura e a pintura ao longo dos séculos. Vários são os exemplos de obras literárias e pictóricas unidas por temas e inspirações em comum, que se desenvolveram em caminhos paralelos durante uma determinada época, numa determinada sociedade. Menos freqüentes, porém, são as ocorrências de elementos que configurem um verdadeiro diálogo, uma convergência ou uma interferência entre as artes visuais e a arte literária. Neste trabalho, pretendemos identificar uma influência do olhar impressionista na literatura francesa da segunda metade do século XIX. Para isso, analisaremos seqüências descritivas de obras de Gustave Flaubert e de Émile Zola. Através da análise da construção das pinturas impressionistas e da construção das seqüências descritivas na literatura, pretendemos demonstrar que esses dois sistemas de representação não estão unidos apenas por temas e inspirações em comum, como havia sido o caso até então, mas também pelas técnicas e metodologias utilizadas e pelas reações que essas mesmas técnicas provocaram e provocam até hoje no espectador e no leitor. / From the time of Horace and his famous phrase Ut pictura poesis, several authors have attempted to draw a parallel between literature and painting. There are many examples of literary and pictorial works linked by common topics and inspirations that have taken parallel paths across time and across societies. Less frequent, however, are the examples of a real dialogue, a convergence or interference between the visual and the literary arts. In this study, we aim at identifying an influence of the impressionist view in the French literature of the second half of the 19th century. For this purpose, we will examine descriptive sequences of the works of Gustave Flaubert and Émile Zola. By analysing the process through which Impressionist paintings were made and the descriptive sequences were written, we aim at demonstrating that these two systems of representation are not united only by common topics and inspirations, as had been the case to date, but also by common techniques and methodologies, in addition to being united by the reactions that these same techniques provoked and still provoke today in the spectator and the reader.

As the world becomes smaller through advances in telecommunications, the need for communication between speakers of different languages becomes greater. Concerns about cultural and economic hegemony argue against the use of any natural language, and machine translation is not yet perfected and available to speakers of all languages. With the technological developments of the last decade, such as powerful computers, graphical interfaces, and the World Wide Web, an excellent opportunity has been created for a computer-mediated visual interlingua to meet this need. An iconic language could be designed to take advantage of the technology. People would be able to communicate with an iconic language without the need to draw pictures themselves, since they could choose these pictures from the screen. This dissertation describes VIL, an iconic visual interlingua based on the notion of simplified speech. Similar to pidgins, languages arising from the prolonged contact between people speaking two or more languages, VIL utilizes features that are in the 'greatest common denominator' of features in different languages. This allows its complexity to be significantly reduced; for example, it has no inflection, no number, gender, or tense markers, and no articles. VIL has no linear order. This is possible because it was designed as a visual language, in contrast to written languages which are the result of a transfer to visual modality of spoken language, which evolved in the context of auditory modality where sequencing and ordering is critical. After reviewing previous research on universal languages that are artificial, non-artificial, and visual, VIL is described in detail, including its parts of speech, its grammar, and its organization for verbs, nouns, and adjectives. Throughout the discussion a set of principles is proposed, some of which are relevant to any universal language, others specific to visual or iconic languages. The development of a set of icons is also presented. Finally, the evaluations of the icons, language, and the system itself are described.

Orientador: Tania Regina de Luca / Banca: Silvia Maria Azevedo / Banca: Laura Moutinho Nery / Resumo: A partir de 1860, dois personagens tornaram-se familiares aos leitores da imprensa fluminense: o Moleque e o Dr. Semana, figuras que se transformaram em sinônimo da publicação que lhes deu vida, a Semana Ilustrada. Nas edições semanais, o cenário urbano da corte ganhava traços caricaturais e o jovem escravo alfabetizado e seu senhor branco circulavam livremente pelas ruas, abordavam os rumos da política imperial, as apresentações artísticas dos teatros e denunciavam as condições precárias dos serviços públicos. Dentro de uma grande comédia dos cidadãos, os mendigos, ratoneiros, pretos tigres, leões do norte, políticos e sinhás namoradeiras estavam sujeitos a esbarrar no esperto menino de libré e seu ioiô de cabeça avantajada e cabeleira volumosa. Para compor um heterogêneo mapa citadino, a sociedade fluminense, suas relações sociais e seus hábitos públicos e privados eram expostos pelas crônicas e caricaturas que não deixavam de cultuar a fumaça industrial, as artes civilizadoras, os estudiosos da ciência e o tempo do progresso. Tendo em conta a longevidade da revista, que atravessou diversas conjunturas que particularizaram o Segundo Reinado, a Semana Ilustrada apresenta-se ao historiador como uma fonte instigante, que se entrelaçou à imprensa ilustrada oitocentista, à escravidão urbana do Rio de Janeiro, aos aspectos anatômicos, afetivos e morais dos habitantes e à lógica do riso e do humor da época / Abstract: From 1860, two characters became familiar to the readers of the Fluminense Press: the Moleque and Dr. Semana, figures that have become synonymous with the publication that gave them life, the Semana Ilustrada. Weekly editions, the urban setting of the Court wincaricature traces and the young literate slave and his white Lord freely circulated in the streets, talked about the imperial politics directions, the artistic presentations of theatres and denounced the precarious conditions of public services. Inside of large citizens of comedy, the beggars, lurchers, black tigers, lions of North, politicians and flirt ladies were subjects to bump the smart boy of liveryand your yo-yo, of a big head and voluminous hair. To compose a heterogeneous map city, the Fluminense society, their social relations and their publicand private habits were exposed by the chronics and caricatures that did not fail to worship the industrial smoke, civilizing arts, the scholars of science and the time of progress.Having regard to the longevity of the magazine, that crossed several times in the Second Reign, the Semana Ilustrada presents itself to the historian as an exciting source, that intertwined to illustrated press of 19th Century, to urban slavery of Rio de Janeiro, to anatomic, emotional and moral aspects of the inhabitants and to logic oflaughter and humor of the time / Mestre

Made available in DSpace on 2017-07-10T17:30:30Z (GMT). No. of bitstreams: 1 Elis Modena.pdf: 5848522 bytes, checksum: 458e79b67a77cbcc2f5e52ad91dfe253 (MD5) Previous issue date: 2014-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / We present a study that is defined and takes place as a didactic proposal to problematize/discuss the concept of Nature in the classroom from pictorial images. For this, at first, we seek to understand and reflect on the key concepts that guide our modern view of Nature, namely: the Utilitarian, the Romantic and the Materialist. In a second moment, we seek to highlight the importance of pictorial images in understanding the concept of Nature. In fulfilling this task, we present the concept of landscape within a cultural approach and then conducted a roundup in the history of landscape painting, traversing from the Renaissance to the present day. In a third and concluding moment, the we present possibilities for the Geography teacher working with landscape paintings to discuss the concept of Nature, analyzing and considering the use of this methodology at the obstacles of learning/teaching geography in school. / Apresentamos uma pesquisa que se define e se realiza como uma proposta didática de problematizar/discutir o conceito de Natureza em sala de aula a partir de imagens pictóricas. Para tanto, num primeiro momento, buscamos compreender e refletir sobre as principais concepções que norteiam a visão moderna de Natureza, sendo elas: a Utilitarista, a Romântica e a Materialista. Num segundo momento, procuramos destacar a importância das imagens pictóricas na compreensão do conceito de Natureza. No cumprimento dessa tarefa, apresentamos o conceito de paisagem dentro de uma abordagem cultural e, em seguida, realizamos um apanhado na história da pintura de paisagens, percorrendo desde o Renascimento até os dias de hoje. Num terceiro e conclusivo momento, apresentamos possibilidades do professor de Geografia trabalhar com pinturas paisagísticas para discutir o conceito de Natureza, analisando e ponderando a utilização dessa metodologia perante os obstáculos do aprender/ensinar geográfico na escola.

Made available in DSpace on 2017-05-12T14:42:05Z (GMT). No. of bitstreams: 1 Elis Modena.pdf: 5848522 bytes, checksum: 458e79b67a77cbcc2f5e52ad91dfe253 (MD5) Previous issue date: 2014-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / We present a study that is defined and takes place as a didactic proposal to problematize/discuss the concept of Nature in the classroom from pictorial images. For this, at first, we seek to understand and reflect on the key concepts that guide our modern view of Nature, namely: the Utilitarian, the Romantic and the Materialist. In a second moment, we seek to highlight the importance of pictorial images in understanding the concept of Nature. In fulfilling this task, we present the concept of landscape within a cultural approach and then conducted a roundup in the history of landscape painting, traversing from the Renaissance to the present day. In a third and concluding moment, the we present possibilities for the Geography teacher working with landscape paintings to discuss the concept of Nature, analyzing and considering the use of this methodology at the obstacles of learning/teaching geography in school. / Apresentamos uma pesquisa que se define e se realiza como uma proposta didática de problematizar/discutir o conceito de Natureza em sala de aula a partir de imagens pictóricas. Para tanto, num primeiro momento, buscamos compreender e refletir sobre as principais concepções que norteiam a visão moderna de Natureza, sendo elas: a Utilitarista, a Romântica e a Materialista. Num segundo momento, procuramos destacar a importância das imagens pictóricas na compreensão do conceito de Natureza. No cumprimento dessa tarefa, apresentamos o conceito de paisagem dentro de uma abordagem cultural e, em seguida, realizamos um apanhado na história da pintura de paisagens, percorrendo desde o Renascimento até os dias de hoje. Num terceiro e conclusivo momento, apresentamos possibilidades do professor de Geografia trabalhar com pinturas paisagísticas para discutir o conceito de Natureza, analisando e ponderando a utilização dessa metodologia perante os obstáculos do aprender/ensinar geográfico na escola.

This thesis maps the existence, extent and diverse applications of the magic lantern in the Australasian colonies and brings to light a cultural practice that had remained largely invisible in histories of photography, cinema, and popular culture in nineteenth century Australasia. The thesis demonstrates that the magic lantern was popular as entertainment on both a private, domestic and a public scale. It traces its widespread adoption in two broad institutional contexts, the educational and the religious, and shows how this wide-ranging practice and consumption was supported by developing social and commercial infrastructure in the colonies and a network of touring lanternists. It argues that the magic lantern located the Australasian colonial culture within a global one centred around the consumption of visual technology and an international exchange of images. Colonial audiences were not, however, merely the passive recipients of a globalised imagery or culture. They were active contributors to it, constructing their own meanings in response to imported images. The thesis argues that, while the magic lantern functioned to affirm a sense of imperial identity in both colonisers and the colonised, it was adapted locally to the creation of colonial, intercolonial and regional identities, as an alternative to a dominant Eurocentric mass-mediated world view. Colonial practitioners applied this powerful medium to the generation of images at a local level that reveal an enthusiasm for colonial events and stories, a sense of place, and a celebration of local identity on the big screen.