<p>The pictorial language of the Swedish children is characterized by the idea that a “good” drawing should be in the right perspective and as photographically realistic as possible. This is a study about the pictorial language of the children in the Gambia and Senegal. Is the pictorial language different with the children living in a culture that has a stronger tradition of spoken word and visual communication than the children living in the western civilisation?</p><p>With the help of different theories concerning children’s creating of art, this study is trying to sort out the differences. It is also explaining about different theories when it comes to development stages in the children’s drawings and how the culture, tradition and conventions influence both the pictorial grammar and the ideal image.</p><p>The study is based on drawings collected in schools in The Gambia and Senegal and the drawings are analysed with the help of theories in Karin Aronssons “Barns världar – barns bilder”.</p><p>The study is also based on observations and interviews with children and teachers in a school in the Gambia.</p>

En kamera fångar ögonblick av det ljus som människan kan uppfatta, eller verkligheten som det ibland kallas. Dessa ögonblick i form av fotografier, arbetar de elever och den lärare med, som Ola Lindholm har följt på gymnasiet. Läsaren kan följa hur eleverna interagerar, hur det sociala samspelet organiseras under lektioner och redovisningar, vad som görs viktigt samt hur bildteoretiska- och yrkesmässiga kunskaper framträder i interaktionen. I studien framträder ett arbetssätt som ger eleverna ansvar och möjlighet att visa vad de kan i interaktionerna och vid redovisningarna av deras fotografier. Resultatet visar hur läraren försöker få eleverna att se skillnader i fotografiets uttryck, skärpedjup, bildbeskärning etcetera. Ibland gör eleverna motstånd och förhandlar med läraren där eleverna hävdar sin kunskap och sina åsikter om sina bilder. I bildanalysen av ett elevfotografi framträder två olika intentioner med de förslag som läraren och eleven förhandlar om. Studien visar att bildteorier, bildspråket och vad bilden kan berätta, inte är lika framträdande i interaktionen som frågor om teknik och process. Ola Lindholm, är bild- och medielärare på Sundstagymnasiet i Karlstad. Licentiatavhandlingen har skrivits inom Forskarskolan i yrkesämnenas didaktik. / A camera captures the moment of light that humans can perceive, or the reality as it is sometimes called. The work and the interaction in the classroom with these frozen moments in the form of photographs can be followed in this study at a media program in high school. The aim of the study is to research how students interact, how the social interaction is organized in lectures and presentations, what becomes important and how the pictorial theory and professional knowledge emerges from the interaction.The study reveals a didactical way of working that gives students the responsibility and opportunity to communicate and show what they can, both in interactions with the teacher during their work with the photographic picture and in the presentations of their photographs. The results show how the teacher tries to get students to see the differences in the photographic expression, depth of field, cropping and so on. Sometimes the students make resistance and negotiate with the teacher, showing knowledge and arguing for their opinions about their pictures. One picture analysis of student photography reveals different intentions with the proposals that the teacher and student negotiates about. The study shows that pictorial theories, picture language, and the communicative intention, are not as prominent in the interaction as issues about technique and process.

Syftet med uppsatsen är att undersöka hur två målgrupper tolkar Vings visuella kommunikation med hjälp av två bilder ur deras annonsering för att sedan jämföra detta mellan de två grupperna samt Vings intention med kommunikationen.  För att besvara detta syfte har vi utformat följande forskningsfrågor: Vad vill resebolaget förmedla med sina bilder i sin annonsering? Vilka skillnader och likheter finns det i målgruppers tolkning av resebilder? På vilka sätt stämmer sändarens intention med bilderna överens med mottagarnas uppfattning och tolkning av dessa? Vi har valt att utföra en kvalitativ fallstudie med en induktiv ansats. Valet föll på denna undersökningsmetod då vi ville inbringa förståelse för vårt problem. Vårt empiriska material är insamlat med hjälp av åtta personliga intervjuer med två målgrupper samt en telefonintervju med Ving för att få information om bilderna som använts i undersökningen. Vi har kommit fram till att resebolaget Ving vill förmedla följande budskap med sina bilder i sin annonsering: kunden ska besöka deras hemsida, kvinnor ska framställas som starka och med respekt, de vill förmedla känslor av avkoppling, lugn, harmoni och semesterkänsla samt differentiera sig på marknaden. Skillnader i målgruppernas tolkning har vi kommit fram till att vara följande: åsikter kring svartvita resebilder, förmågan att urskilja fler komponenter och den manliga modellens framställning. Likheterna är istället: den kvinnliga modellens framställning, sexanspelningar samt emotioner. Slutligen har vi identifierat på vilka sätt Vings intention med annonsbilderna stämmer överens med mottagarnas tolkning av dessa. Vings budskap med hemsidan, framställning av kvinnor och de känslor som upplevs är de som delvis uppfattas av målgrupperna. Dock lyckas Ving inte nå fram fullt ut med deras differentiering och konsekventa kommunikation. / The purpose of this case study has been to examine how two target groups interpret the visual communication of the Swedish travel company Ving by choosing two pictures from their advertising, for the ability to compare the result between the two groups and also Vings intention with the communication. To be able to answer this purpose, we have created following three research questions: What does the travel company want to convey with their pictures in their advertising? Which differences and similarities are there between target groups interpretation of travel pictures? In what ways does the senders’ intention with the pictures correlate with the receiver’s perception and interpretation of them? We have used a qualitative methodology with an inductive approach in this study. For the empirical material we have conducted eight personal interviews with women representing two different target groups, couples and parents. We have also had a telephone interview with the marketing manager of Ving Sweden to collect information about the pictures used in this study. Our conclusions are that the travel company Ving wants to convey the following messages to their customers with their pictures in their advertising: visit the company´s website, portrait women as strong and with respect, convey feelings of relaxation, calmness, harmony and holiday feeling. Finally they want to differentiate themselves on the market. The differences in the target groups´ interpretations of the pictures are: different views of black and white travel pictures, the ability to distinguish more components and the male models portrayal. The similarities between the target groups´ interpretations are; the portrayal of the female model, references to sex and also emotions. Finally we have identified that Ving´s intention with the pictures correlate in some aspects to the target groups´ perceptions and interpretations of them: visit the company´s website, portrayal of women and the feeling of the same emotions. However, the intention with the differentiation and consistent communication do not reach the target groups.

The pictorial language of the Swedish children is characterized by the idea that a “good” drawing should be in the right perspective and as photographically realistic as possible. This is a study about the pictorial language of the children in the Gambia and Senegal. Is the pictorial language different with the children living in a culture that has a stronger tradition of spoken word and visual communication than the children living in the western civilisation? With the help of different theories concerning children’s creating of art, this study is trying to sort out the differences. It is also explaining about different theories when it comes to development stages in the children’s drawings and how the culture, tradition and conventions influence both the pictorial grammar and the ideal image. The study is based on drawings collected in schools in The Gambia and Senegal and the drawings are analysed with the help of theories in Karin Aronssons “Barns världar – barns bilder”. The study is also based on observations and interviews with children and teachers in a school in the Gambia.

Made available in DSpace on 2016-12-08T16:19:02Z (GMT). No. of bitstreams: 1 (0).pdf: 42978 bytes, checksum: cc499c5215735a5a27ac498050094818 (MD5) Previous issue date: 2008-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research has as its study object the production process in the pictorial development. Through a phenomenological approach, we find instruments that assist us in thinking the process of production of painting. As a case study for our research we chose the work of the São Paulo s artist Fábio Miguez in the period between 1983 and 2000. We consider that the work of this artist constitutes a suitable sampling to allow the investigation of questions of the production process, due to strength of his painting work. We intend, therefore, to perceive and analyze the elements that compose the pictorial language, going through questions as: the formal character of the work, the materials used, the aspects referring to the formativity and poetics, the perception, the subjectivity and intention of the artist, among others. The work of Fábio Miguez was the propeller to reflect on the production process. In Pareyson we find subsidies to think the formative process, where we learn that the work guides and is guided by its proper process of creation; the choice of the material and its unfoldings. With Merleau-Ponty it was possible to solidify reflections on time, something inherent to the pictorial activity, as much for the materiality of the painting as to the formalization of an idea. The perception of the work in its conception will be guided by Merleau-Ponty. In Heidegger we find support to think the character of thing of the work of art and the relation between this e its being-creator, the artist. We present a historical briefing of the creative process emphasizing characteristics and recurrences in its different phases with the intention of placing its work in the Brazilian contemporary art context. Besides the bibliographical the research was based on live and semi-structured / A presente pesquisa tem como objeto de estudo a fatura no processo pictórico. Pela via fenomenológica encontramos instrumentos que nos auxiliam a pensar a fatura na pintura. Elegemos a obra do artista paulista Fábio Miguez, do período entre 1983 a 2000, como estudo de caso de nossa pesquisa. Consideramos que a obra deste artista constitui uma amostragem satisfatória para podermos investigar questões referentes à fatura, devido à solidez de seu trabalho em pintura. Pretendemos, portanto, perceber e analisar os elementos que compõem a linguagem pictórica, passando por questões como: o caráter formal da obra, os materiais utilizados, os aspectos referentes à poética, à formatividade, à percepção e à subjetividade e intenção do artista, entre outros. As obras de Fábio Miguez foram as propulsoras para a reflexão sobre fatura. Em Pareyson encontramos subsídios para pensar o processo formativo, onde se tem que a obra vai guiando e sendo guiada pelo seu próprio processo de criação; a escolha do material e seus desdobramentos. Com Merleau-Ponty foi possível adensar reflexões sobre o tempo, que é inerente à atividade pictórica, tanto no que se refere à materialidade da pintura quanto à formalização de uma idéia. A percepção da obra na sua concepção e fruição será igualmente norteada por Merleau-Ponty. Em Heidegger encontramos respaldo para pensar o caráter de "coisa" da obra de arte e a relação entre esta e seu sercriador, o artista. Apresentamos um breve histórico do processo criativo de Fábio Miguez salientando características e recorrências em suas diferentes fases no intuito de situar sua obra no contexto da arte contemporânea brasileira. Além da pesquisa bibliográfica apoiamo-nos em entrevistas semi-estruturadas e presenciais com o artista bem como visitas a exposições e acervos de suas obras

Syftet med studien är att beskriva hur eleverna värderar bildämnet i grundskolan åk 6-9, utifrån aspekten nytta för lärande och utveckling samt välmående. I undersökningen används en metod med kvantitativa och kvalitativa frågor där elever i årskurs 6-9 fått svara på en webbaserad enkät. Det sammanställda resultatet från enkäten visade likheter med tidigare ämnesutvärdering NU-03 (2005) och NÄU-13 (2015). De flesta eleverna tycker att ämnets undervisning har för lite tid och att kärnämnena dominerar och är viktigare för framtiden. Knappt hälften av eleverna ansåg att bildämnet har effekt på deras lärande, vilket inte stämmer överens med de litteratur och tidigare studier. Enligt tidigare studier och litteratur skapar bildämnet dessutom arbetsglädje, väcker kreativitet och är kommunikativt, vilket bekräftas av eleverna i den här uppsatsen. Eleverna beskriver att bildämnets kommunikativa sida även förstärker deras självkänsla. Ämnets nytta i och utanför skolan var däremot inte självklart för många elever, även om en ganska stor andel av eleverna anser att ämnet hjälper dem att tolka den visuella världen runt dem. Det sammanlagda resultatet av uppsatsen tyder på att bildämnet har flera positiva effekter på elevernas lärande och mående, men uppfattningen om bildämnet skiljer sig stort mellan eleverna i undersökningen. / The purpose of the study is to describe how students assess the subject Art in the elementary school years 6-9, based on the aspect of benefit for learning, development and well-being. The survey uses both a quantitative and qualitative method where students in grades 6-9 were asked to answer a web-based questionnaire. The compiled results from the survey showed similarities with previous subject evaluation NU-03 (2005) and NÄU-13 (2015). Most students think that the subject Art’s teaching has too little time and that the core subjects dominate and are more important for the future. Just under half of the students considered that Art has an effect on their learning, which is not in line with the literature and previous studies. According to previous studies and literature, Art creates job satisfaction, arouses creativity and is communicative, which is confirmed by the students in this essay. The students describe that Arts communicative ability   enhances their self-esteem. The benefit of Art however, was not obvious to many students, although a fairly large proportion of the students believe that the subject helps them to interpret the world around them. The overall result of the thesis indicates that Art has several positive effects on the students' learning and well-being, but the perception of the subject differs greatly between the students in the study.