Orientador: Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T12:40:40Z (GMT). No. of bitstreams: 1 Moraes_AnaCarolinaAlbuquerquede_M.pdf: 63216548 bytes, checksum: 94940c2295410e83073c68c6c7564247 (MD5) Previous issue date: 2012 / Resumo: A dissertação tem por objetivo analisar quatro cartazes concebidos pelo artista suíço Jean- Pierre Chabloz (1910-1984) como desenhista publicitário do Serviço Especial de Mobilização de Trabalhadores para a Amazônia (SEMTA), órgão estatal vinculado ao "programa da borracha", empreendido pelo governo Getúlio Vargas durante a Segunda Guerra Mundial. Instalando-se em Fortaleza, Ceará, cidade onde se localizava a sede do SEMTA, Chabloz trabalhou para esse organismo de janeiro a julho de 1943, desenvolvendo vasto material de propaganda: cartazes, brochuras, ilustrações para conferências, etc. Todo esse material pertence ao amplo acervo de Chabloz no Museu de Arte da Universidade Federal do Ceará (MAUC), instituição onde realizei a maior parcela da minha pesquisa de campo. Como metodologia de pesquisa, recorri, sobretudo, à análise documental, relacionando documentos visuais e textuais, bem como documentos visuais entre si. A dissertação é dividida em três capítulos. No primeiro, abordo, inicialmente, a formação européia de Chabloz: estudos na Escola de Belas-Artes de Genebra (1929-33), cursos com a educadora suíça Artus-Perrelet (1931-32), estudos na Academia de Belas-Artes de Florença (1933-36) e na Academia Real de Belas-Artes de Milão (1936-38). Em seguida, discuto a fecunda atuação de Chabloz no cenário artístico-cultural do Ceará, onde realizou atividades como artista plástico, músico, professor, conferencista, crítico de arte e fomentador cultural, desde o ano de sua chegada, 1943, até o de seu falecimento, 1984, em períodos intermitentes. No segundo capítulo, abordo a experiência de Chabloz como desenhista publicitário da "Campanha da Borracha", assim como o contexto histórico que alicerçou tal experiência: a exploração de borracha na região amazônica, os Acordos de Washington (firmados entre Brasil e Estados Unidos em março de 1942) e a dita "Batalha da Borracha". Por fim, no terceiro capítulo, dedico-me à análise dos cartazes que escolhi como objetos desta pesquisa, relacionando-os a estudos preliminares, bem como a layouts para cartazes (também pertencentes ao acervo do MAUC) elaborados pelo artista em períodos anteriores à sua experiência no SEMTA. De modo geral, pude observar um deslocamento na linguagem do Chabloz cartazista quando de sua produção europeia, de um lado, e quando de sua produção para a "Campanha da Borracha", de outro. Na primeira, em sintonia com tendências então em voga na Europa, o jovem artista dava vazão, sobretudo, ao gosto pela experimentação formal dos motivos e das letras. Já na segunda, Chabloz adotou uma abordagem mais didática, preocupada com o pronto reconhecimento dos motivos e a rápida assimilação da cena representada / Abstract: This text intends to analyze four posters conceived by the Swiss artist Jean-Pierre Chabloz (1910-1984) during his work as advertising draughtsman for the Special Service for Mobilization of Workers to Amazonia (SEMTA), a governmental agency associated with the "rubber program", lead by Getúlio Vargas' government during the Second World War. Chabloz worked for this agency from January to July 1943, while living in Fortaleza, Ceará, where the SEMTA's headquarter was installed. There he developed a broad range of advertising material: posters, brochures, conference illustrations, etc. All this material belongs to the vast Chabloz collection from the Art Museum of the Federal University of Ceará (MAUC), where I conducted great part of my field research. The methodology applied was mostly based on documental analysis, in which I attempted to relate visual and written documents, as well as visual documents among themselves. The text is divided into 3 chapters. On the first one, I initially discuss Chabloz's studies in Europe: his classes at the Geneva School of Fine Arts (1929-33), the lessons he took from the Swiss educator Artus- Perrelet (1931-32) and the studies he conducted at the Florence Academy of Fine Arts (1933-36) and at the Milan Royal Academy of Fine Arts (1936-38). After that, I debate the rich contribution Chabloz gave to Ceará's cultural and artistic scene, where he led initiatives as plastic artist, musician, teacher, conference speaker, art critic and cultural promoter, from the year of his arrival, 1943, to that of his death, 1984, within intermittent periods. On the second chapter, I analyze Chabloz's experience as advertising draughtsman for the "Rubber Campaign", as well as the historical context that motivated such experience: the rubber exploitation in the Amazon region, the Washington Agreements (signed by Brazil and the U.S.A. in March, 1942) and the so called "Rubber Battle". Finally, on the third chapter, I dedicate myself to the analysis of the posters I chose as objects of this research, relating them to preliminary studies and to poster layouts (also found in Chabloz's collection at MAUC) designed by the artist before he joined SEMTA. In general, I could observe a shift in the language applied by Chabloz as poster maker from his European phase to his production for the "Rubber Campaign". At first, the young artist, following European trends, focused on his taste for formal experimentation of motifs and fonts. Later, Chabloz adopted a more didactic approach, focusing on the immediate recognition of subject matters and fast assimilation of the portrayed scene / Mestrado / Artes Visuais / Mestra em Artes Visuais

This study is intended to illustrate how the reformist and revolutionary directions in the labor movement are manifested and visualized in the empirical material with regard to angry culture, thus contributing to an understanding of the informative importance of the image. It is clear that the investigated material in the form of social democratic and communist 1 May posters from the period 1922-1948 reflects its time (the interwar period to the post-war era) with regard to angry culture.  It is not the aesthetic aspect that is central, but the historical and political perspective in terms of information transmission. This study focuses on how to understand a historical period through an image material. The study aims to answer the question of what kind of information is communicated built on an analysis based on a combination of semiotics and hegemony analysis of the empirical material. Using the semiotic concepts denotation and connotation, the posters are analyzed in detail in the image analysis in combination with Stuart Hall's three hypothetical positions (codes), Antonio Gramsci’s hegemony concept, primarily in the form of “war of position” and “historic blocs”, is used to understand the historical period investigated. This method triangulation increases the credibility of the results. As far as the study and its results are concerned, it can be noted that the social democratic 1 May posters before 1936 (Social Democrats’ power access) with regard to “sublimed wrath” mainly represent consensus across class boundaries. The communist 1 May posters from that period, however, primarily represent “class war” and stand for “open anger”. After the Social Democrats’ access to power, it is clear that they constitute a historic bloc and that the communists are forced to adopt a more defensive approach, pronounced in drained paroles with a vague content. The conclusion with regard to the visual transmission of political and historical information and messages regarding social democratic and communistic 1 May posters from 1922-1948, based on socialist angry cultures is that the period between the wars was characterized by class struggle versus consensus, World War ll reduced everything to “hold together” and post-war time represents the starting point for the welfare state, as a successful consequence of the social democratic “dignity project”.

English abstract The master's thesis compares aspects of British, French, and Austro-Hungarian pictorial propaganda at the beginning of the Great War and its argumentation and influence. By comparing 100 propaganda pictures (ex. various posters, newspaper illustrations, postcards, etc.) made by each of the countries, the thesis describes various image distinctions in three areas of research: concerning the dominant motives of the posters, concerning the human values and emotions, which the posters influenced, and concerning the usage of national signs in these media. Keywords: First world war, propaganda, posters, Great Britain, France, Austro-Hungary, comparative study

Thesis (M. Tech.) - Central University of Technology, Free State, 2009 / The aim of health communication campaigns and visual communication material (VCM) is to positively influence audience health behaviour and attitude. VCM has been used in this respect effectively as a vehicle to convey information about HIV/AIDS over the past three decades. It has been used to promote health knowledge and awareness in order to reduce the transmission of the virus. The aim of this study was to determine the efficacy of graphic imagery in HIV/AIDS VCM. To realise this aim, the researcher set the following objectives: * To review relevant literature in order to isolate key features and process those that communicators must consider/follow when developing HIV/AIDS VCM; * To determine the comprehension of selected outdoor HIV/AIDS messages, the graphics used in these messages, illustration preferences, and an evaluation of the self-efficacy of selected loveLife outdoor visual messages; and * To propose a model that communicators can use as a guideline when developing VCM. The outcome of the review suggests a compilation of features, design guidelines and variables that may contribute to the effectiveness of VCM. The results of the empirical study indicate that suitable graphic imagery fosters message comprehension, while inappropriate imagery inhibits comprehension, and realistic and appropriate imagery is preferred to abstract and representational imagery. Familiar images can contribute towards improved comprehension of HIV/AIDS messages. These findings also gave birth to the proposed ‘O’ communication model, which is a reflection of the results of the empirical study.

A participação dos artistas plásticos e gráficos na publicidade brasileira, mais especificamente na comercial de produtos e empreendimentos, entre as décadas de 1920-1940 constitui o núcleo de investigação desta tese. Se historicamente as artes plásticas e a publicidade internacionais sempre mantiveram relações estreitas e até mesmo conflituosas, indagou-se como teriam se comportado entre si esses dois campos profissionais no Brasil quando da passagem da nossa publicidade amadora para aquela moderna, impregnada, sobretudo, pelos métodos das agências norte-americanas atuantes no eixo Rio-São Paulo. A partir de um exame atento do mercado de trabalho dos diversos profissionais considerados, procurou-se entender as motivações que os levaram a produzir peças publicitárias, o que por sua vez direcionou o estudo ao questionamento das hierarquias artísticas, pois a relação entre a arte e a publicidade prolonga o consagrado debate em torno das artes mecânicas e liberais, e, por conseguinte as disputas entre arte maior e arte menor, entre arte pura, desinteressada e livre e arte comprometida, dentre outras tipologias usuais. Concomitantemente, averigou-se como a passagem e mesmo a convivência de um sistema acadêmico com um moderno, que se constituiu a partir dos anos 1920, alterou, ou melhor, conformou o campo artístico brasileiro. Frente a esses impasses, recorreu-se a algumas proposições teóricas mais atuais, que ao transferirem o foco problemático do campo artístico para o estético, atenuaram os questionamentos como também permitiram maior flexibilidade de análises. Nos exames formais das peças publicitárias, selecionadas em função de suas representatividades dentro do conjunto, defendeu-se a tese de que houve momentos em que a produção de cartazes e anúncios comerciais, este em maior número, aproximou-se de uma linguagem artística moderna, a exemplo dos projetos comerciais do artista Fulvio Pennacchi, que pertencem à coleção do Instituto Moreira Salles. E, na busca desses momentos estéticos modernos, procurou-se não enxertar e tão somente verificar correspondências com os moldes europeus, ao contrário, isso permitiu o conhecimento da nossa realidade, da modernidade artística que nos foi possível edificar, tendo em conta as variantes que o decorrer dos anos lhe agregou. Este posicionamento, em contrapartida, de forma alguma pôde desprezar o fato da história da propaganda brasileira ter fortes e ricas ligações com os modelos estrangeiros, portanto, impôs-se às análises iconográficas a tarefa de também investigar o quanto a nossa produção foi ou não uma reelaboração particular dos exemplos da arte publicitária em circulação. A interdisciplinaridade foi uma constante neste estudo pelo entrelaçamento de informações originárias de vários campos do conhecimento, sem a qual a pesquisa não teria êxito. / The role of the plastic and graphical artists in the Brazilian commercial advertising of products and enterprises, between the decades of 1920 and 1940, is the core of investigation of this thesis. Historically, plastic arts and advertising always kept narrow and even tough relationships in the international panorama. Therefore, in this work we have inquired the behavior of these two professional fields in Brazil as we pass from an amateur to a modern advertising. The latter has been influenced by the North-American advertising agencies from Rio de Janeiro and São Paulo. From a painstaking analysis of the labor market of several professionals in the plastic arts field, we have tried to understand the reasons that had taken them to produce advertisement materials. This has led us to investigate artistic hierarchies, since the relationship between art and advertising only emphasizes the old debate around mechanical and liberal arts, minor and major arts, pure and compromised arts, amongst other usual typologies. At the same time we investigated how the coexistence of an academic system and a modern one, established in the years of 1920, molded the Brazilian artistic field. Due to these impasses it was necessary to use some modern theoretical propositions that shifted the subject from the artistic to the aesthetic field, reducing doubts and allowing for a more flexible analysis. In the critical analysis of the selected advertisement materials, we looked for instances where the posters and commercial advertisements, the latter bigger in number, approached a more modern artistic language, such as the commercial projects of the artist Fulvio Pennacchi, that belong to the collection of the Instituto Moreira Salles. In pursuit of these modern aesthetic instances we have not tried only to find similarities with the European patterns but made an effort to understand our reality and the artistic modernity we were able to produce at that time. We did not deny the strong link between the Brazilian and the international advertising, therefore, in our iconographic analysis, we have investigated to what degree our advertisement productions were just reelaborations of the current advertisement art in circulation. In this thesis the interdisciplinarity played a major role due to the crossing of information from many areas of knowledge and, without it, our research would not be possible.

Purpose of this essay is to conduct a style analysis of Swedish silent film posters with visual storytelling and cultural memory as a theoretical basis. Concepts such as design, color and technique are studied to highlight the historical context of Swedish silent film posters.

Ce travail de doctorat sur la communication politique dans l’Albanie postcommuniste vise à étudier la place, le rôle, les effets de l’industrie de l’image et de la communication politique basée sur l’image pendant les campagnes électorales au niveau national et local durant la période de la transition politique en Albanie. Au centre des analyses effectuées, nous avons établi des thèmes, importants et cruciaux comme le rôle, la fonction et la place des images dans le cadre de la communication politique et électorale, l’évolution et la transformation de ce rôle jusqu’au point où elle a réussi à se placer au centre des stratégies de persuasion et de propagande des partis politiques et des autres acteurs politiques du pays. L’image dans le contexte de cette thèse est considéré comme un ensemble significatif de formes, de couleurs, de mouvements, qui représentent des objets réels ou imaginaires, des signes spatiaux souvent associés à des bandes sonores et des textes, articulés sur des supports variés : affiches électorales, spots publicitaires électoraux et structuration des apparitions télévisées des acteurs politiques locaux, et la « scénographie –type » des évènements organisés dans le cadre des campagnes électorales. Toujours en fonction des besoins de cette étude, nous allons appeler cet aspect de la communication politique : « communication par l’image», et par ce terme que nous emprunterons tout au long de cette thèse, nous entendrons : Communication à travers les affiches électorales, la publicité électorale ainsi que la structuration scénographique de l’apparition des acteurs politiques locaux devant les médias en période de campagne électorale. L’utilisation de l’image dans la communication politique en Albanie représente une caractéristique locale importante. Il s’agit d’une tendance qui suit les dynamiques communicationnelles en Occident. Par un comportement de mimétisme, les acteurs politiques locaux ont trouvé intéressant, efficace et rentable d’appliquer en Albanie le modèle occidental de la communication politique sous tous ses aspects et surtout en ce qui concerne la logique interne des processus qui constituent la communication politique, les infrastructures qui rendent possible la communication politique, les principes des rapports des acteurs qui produisent la communication politique dans le triangle politique -médias - images, et jusqu’à l’introduction dans le pays des modèles de communication politique au travers des compagnies occidentales, surtout américaines, qui sont consultées par les principaux partis politiques localement situés ou qui restent derrière eux dans le processus de réalisation des stratégies politiques réalisées au cours des élections.Le processus de l’adoption des instruments, techniques et des modèles qui viennent de l’Occident a été réalisé dans le contexte albanais avec une rapidité surprenante pour s’achever en l’espace d’une seule décennie. La question qui se pose ici, ce serait : Quels sont les effets de la communication à travers les images sur l’intégralité du processus politique local ? Il s’agit, en effet, d’une communication politique qui s’éloigne toujours plus d’une tradition locale fondée sur la communication politique directe, interpersonnelle, face à face, orale et fondée sur un réseau organisationnel partisan. Bref, il faudrait bien évidemment étudier les avantages de la communication par l’image par rapport à la communication politique verbale et celle organisationnelle – partisane. Cette thèse a pour objectif de décrire et d’analyser la façon dont s’est développé ce processus dans le temps, quelle était la logique interne de cette transformation, comment la société albanaise est passée d’une communication politique fondée sur la parole écrite ou sur des moyens oraux de l’expression, vers une communication orientée vers un univers d’images ou vers le virtuel. / This doctoral thesis on political communication in post-communist Albania, aims to study the national and local election campaigns carried out during the political transition in Albania after 1991. This is done so to highlight the communication through images. The analysis thus centres on the role, evolution, transformation and the use of images to enable political and electoral communication. We use images in this thesis to mean: electoral posters, electoral campaign adverts, as well as the construction of the TV appearances of the local political actors, which we will call a “typical stage”. In this thesis when interpreting this aspect of political communication we will use “image communication” to mean: communication through electoral posters, electoral campaign adverts as a set up stage for the local political leaders to play in front of the media during the election campaigns. The use of images in political communication in Albania represents a distinguished local feature, which in turn shows also the integration to what happened in Western Europe. This can be seen as a full reflection of the western political communication regarding: the internal rationale process of creating political communication, the infrastructure enabling political communication, the principles of the actors that produce political communication in the politics-media-image industry triangle as well as the importing of these models through the western companies. The latter are mostly American and they consult and stand behind the most important political parties during the political election campaigns It is worth noting that within a decade most of the western models, instruments and technical features were fully adapted in Albania. Therefore the enquiry that arises concerns the implication of extensively using image communication. The recent political communication is distancing even more to the local tradition of direct personal and oral political communication highlighting the advantage of image communication to political communication. 318 The objective of this thesis is to describe and analyse the development of this process over time, the internal rationale of this transformation and how political communication moved away from oral and direct communication to the more universal and virtual images. As regards to time, this thesis focuses on the use of virtual images during the political communication course accompanying national election campaign from 1991, the first free elections held in Albania, to 2009, the last national elections in the country. In this thesis we also include the last local elections for the Tirana Municipality starting in year 2000 to 2007. These elections are the embryo of the above mentioned phenomena that were in turn quickly adopted at the national level and thus changing the political communication landscape. The political candidate Edi Rama has constantly won these elections from year 2000 thus representing what we earlier called image communication, as he was the first to embrace and use the power of image. He modelled a new type of politician who would enter politics after working in the media. His approach was copied extensively and his success is evident as in 2005 he became the leader of the socialist party, one of the biggest parties in the country, without being a career politician neither in the country’s political scene nor within the party.

A participação dos artistas plásticos e gráficos na publicidade brasileira, mais especificamente na comercial de produtos e empreendimentos, entre as décadas de 1920-1940 constitui o núcleo de investigação desta tese. Se historicamente as artes plásticas e a publicidade internacionais sempre mantiveram relações estreitas e até mesmo conflituosas, indagou-se como teriam se comportado entre si esses dois campos profissionais no Brasil quando da passagem da nossa publicidade amadora para aquela moderna, impregnada, sobretudo, pelos métodos das agências norte-americanas atuantes no eixo Rio-São Paulo. A partir de um exame atento do mercado de trabalho dos diversos profissionais considerados, procurou-se entender as motivações que os levaram a produzir peças publicitárias, o que por sua vez direcionou o estudo ao questionamento das hierarquias artísticas, pois a relação entre a arte e a publicidade prolonga o consagrado debate em torno das artes mecânicas e liberais, e, por conseguinte as disputas entre arte maior e arte menor, entre arte pura, desinteressada e livre e arte comprometida, dentre outras tipologias usuais. Concomitantemente, averigou-se como a passagem e mesmo a convivência de um sistema acadêmico com um moderno, que se constituiu a partir dos anos 1920, alterou, ou melhor, conformou o campo artístico brasileiro. Frente a esses impasses, recorreu-se a algumas proposições teóricas mais atuais, que ao transferirem o foco problemático do campo artístico para o estético, atenuaram os questionamentos como também permitiram maior flexibilidade de análises. Nos exames formais das peças publicitárias, selecionadas em função de suas representatividades dentro do conjunto, defendeu-se a tese de que houve momentos em que a produção de cartazes e anúncios comerciais, este em maior número, aproximou-se de uma linguagem artística moderna, a exemplo dos projetos comerciais do artista Fulvio Pennacchi, que pertencem à coleção do Instituto Moreira Salles. E, na busca desses momentos estéticos modernos, procurou-se não enxertar e tão somente verificar correspondências com os moldes europeus, ao contrário, isso permitiu o conhecimento da nossa realidade, da modernidade artística que nos foi possível edificar, tendo em conta as variantes que o decorrer dos anos lhe agregou. Este posicionamento, em contrapartida, de forma alguma pôde desprezar o fato da história da propaganda brasileira ter fortes e ricas ligações com os modelos estrangeiros, portanto, impôs-se às análises iconográficas a tarefa de também investigar o quanto a nossa produção foi ou não uma reelaboração particular dos exemplos da arte publicitária em circulação. A interdisciplinaridade foi uma constante neste estudo pelo entrelaçamento de informações originárias de vários campos do conhecimento, sem a qual a pesquisa não teria êxito. / The role of the plastic and graphical artists in the Brazilian commercial advertising of products and enterprises, between the decades of 1920 and 1940, is the core of investigation of this thesis. Historically, plastic arts and advertising always kept narrow and even tough relationships in the international panorama. Therefore, in this work we have inquired the behavior of these two professional fields in Brazil as we pass from an amateur to a modern advertising. The latter has been influenced by the North-American advertising agencies from Rio de Janeiro and São Paulo. From a painstaking analysis of the labor market of several professionals in the plastic arts field, we have tried to understand the reasons that had taken them to produce advertisement materials. This has led us to investigate artistic hierarchies, since the relationship between art and advertising only emphasizes the old debate around mechanical and liberal arts, minor and major arts, pure and compromised arts, amongst other usual typologies. At the same time we investigated how the coexistence of an academic system and a modern one, established in the years of 1920, molded the Brazilian artistic field. Due to these impasses it was necessary to use some modern theoretical propositions that shifted the subject from the artistic to the aesthetic field, reducing doubts and allowing for a more flexible analysis. In the critical analysis of the selected advertisement materials, we looked for instances where the posters and commercial advertisements, the latter bigger in number, approached a more modern artistic language, such as the commercial projects of the artist Fulvio Pennacchi, that belong to the collection of the Instituto Moreira Salles. In pursuit of these modern aesthetic instances we have not tried only to find similarities with the European patterns but made an effort to understand our reality and the artistic modernity we were able to produce at that time. We did not deny the strong link between the Brazilian and the international advertising, therefore, in our iconographic analysis, we have investigated to what degree our advertisement productions were just reelaborations of the current advertisement art in circulation. In this thesis the interdisciplinarity played a major role due to the crossing of information from many areas of knowledge and, without it, our research would not be possible.

[pt] O tema desta pesquisa é a realização dos atos de pedir, registrados em placas e cartazes não oficiais, localizados em espaços de circulação pública da sociedade brasileira. A partir de uma perspectiva interdisciplinar, este estudo pretende contribuir para uma melhor compreensão das questões identitárias e culturais trazidas na e pela língua, fornecendo subsídios relevantes para a área de ensino de português como segunda língua para estrangeiros (PL2E). Apesar de placas e cartazes objetivarem manter a informação necessária clara para o seu leitor e ativa na memória, nem sempre o principal conteúdo transmitido está explícito no enunciado, sendo construído, muitas vezes, por meio de uma informação subentendida. Para os aprendizes de PL2E, compreender essa mensagem não dita, sobretudo nos enunciados expressos pelos avisos de placas e cartazes não oficiais, requer não só um grande desafio, como também pode gerar interpretações equivocadas e visões distorcidas da cultura alvo. Tendo isso em vista, as formas de realização das estratégias discursivas relativas ao ato de pedir são descritas e analisadas, procurando-se verificar em que medida os fatores contextuais e culturais influenciam na escolha das estratégias linguísticas utilizadas para elaborar atos de pedir explícitos ou implícitos. Para tal, a fundamentação teórica desta dissertação baseia-se nos conceitos da Teoria dos Atos de Fala, da Sociolinguística Interacional, do Interculturalismo e da Antropologia Social. / [en] The theme of this research is the execution of the acts of asking, registered in unofficial signs and posters, located in public circulation spaces of the Brazilian society. From an interdisciplinary perspective, this study aims to contribute to a better understanding of the identity and cultural issues brought in and by the language, providing relevant subsidies for the teaching of Portuguese as a Second Language for Foreigners (PL2E). Although signs and posters aim to keep the necessary information clear to the reader and active in memory, not always the main content conveyed is explicit in the utterance and is often constructed by means of implied information. For learners of PL2E, understanding this unsaid message, especially in statements expressed by unofficial placard and poster warnings, requires not only a major challenge, but can also generate misinterpretations and distorted views of the target culture. With this in mind, the ways in which discursive strategies regarding the act of asking are realized are described and analyzed, trying to verify to what extent the contextual and cultural factors influence the choice of the linguistic strategies used to elaborate explicit or implicit acts of asking. To this end, the theoretical foundation of this dissertation is based on the concepts of Speech Acts Theory, Interactional Sociolinguistics, Interculturalism and Social Anthropology.

Thesis (M. A. (Communication Studies)) -- University of Limpopo, 2022 / The purpose of this study was to investigate the approach to land and unemployment as main electoral themes during 2019 elections in South Africa by the ANC and EFF. A qualitative, exploratory research was conducted to determine how these issues were articulated and approached using emotional and cognitive messages in the production of political content. This was to determine the implications of their use regarding issues of emphasis and ownership by political parties on the decision of constituencies. The hubs of data collection for this study were political street posters and Facebook advertisements. This study paid particular focus on the manners in which both parties framed the subjects of land and unemployment. Thus, thematic content analysis was used to determine the themes that emerged from the Facebook advertisements while semiotic analysis was applied on the data that emanated from street posters. The selection of the posters and Facebook political advertisements was guided by the issues the researcher intended to study which reflected on the ANC and EFF political advertisements. A total of 8 posters (N=8) were selected and analysed (4 for each party) and a total of 10 Facebook advertisements (5 for each party) were used for the generation of data in this study. A semi-structured interview was also conducted. The findings revealed that there are connections among political issues, images of politicians and the decision of voters. People vote based on these connections. The study therefore recommends that areas of content production need to be improved in the production of political advertisements, and that scholars need to improve the existing literature on political communication to educate the public (voters) about the persuasive strategies of the political parties