A new class of photographs that relies on digital processes, best exemplified by the works of Gregory Crewdson, Andreas Gursky and Jeff Wall all exhibit a ‘not quite right’ quality that calls into question some of the most closely held truisms of photographic thought. Through novel technological processes combined with the elements of the new photography—new scale, fabulist imagery, and implied narrative—these images challenge the nature of photography as a documentary process and, beyond that, the nature of what we understand to be ‘the real’ that is supposedly documented. A visual analysis of these images through the lens of Roland Barthes’ and Susan Stewart’s scholarship reveals truths about these images and about photography as a medium. What these elements, this ‘lack of rightness’, can tell us about photography and its position as documentary medium can help us better understand the nature of contemporary photography as a truly creative medium rather than a documentation of the real. These artists are engaging in a discourse of artifice, questioning the position of photographs as documents of how it was, revealing that not only is their work not a documentation of the world as it is, but that photography never was.

The aim this thesis is to analyse the narrative structure of the novel, The Portrait of A Lady, with the aim of revealing how meaning is made and to show how certain elements are transferred to the film version and the consequent changes in meaning and emphasis. The structural analysis of The Portrait will chiefly rely on Shlomith Rimmon- Kenan&rsquo / s scheme she draws in her book Narrative Fiction. The functional analysis to show the consequent changes in meaning and emphasis, on the other hand, will rely on Roland Barthes&rsquo / s theory of functions he discusses in his article &ldquo / Structural Analysis of Narratives&rdquo / . In order to explore the narrative structure of The Portrait of A Lady, this thesis will examine story, characterization, time and focalization and demonstrate the techniques Henry James uses in narration. In the functional analysis of the novel, on the other hand, the functions of the units discussed in the story and the characterization will be compared to the functions of the same units that are transferred to the adaptation of the novel to reveal how the meaning and emphasis of the novel changes.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-02T21:56:49Z No. of bitstreams: 1 SilviaBarbalhoBrito_DISSERT.pdf: 911490 bytes, checksum: e12288c825d13edcedbb789ab4058080 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-05T23:48:52Z (GMT) No. of bitstreams: 1 SilviaBarbalhoBrito_DISSERT.pdf: 911490 bytes, checksum: e12288c825d13edcedbb789ab4058080 (MD5) / Made available in DSpace on 2017-10-05T23:48:52Z (GMT). No. of bitstreams: 1 SilviaBarbalhoBrito_DISSERT.pdf: 911490 bytes, checksum: e12288c825d13edcedbb789ab4058080 (MD5) Previous issue date: 2017-07-28 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Este trabalho instaura uma discuss?o que p?e em cena o fazer cr?tico-liter?rio de Silviano Santiago a partir das fic??es O banquete (1977), Uma hist?ria de fam?lia (1992) e De c?coras (1999), para investigar as pot?ncias da literatura quanto aos comportamentos e pr?ticas da linguagem que se vinculam ?s concep??es semiol?gicas do pensador Roland Barthes, no que concerne ?s dimens?es suplementares da cultura e da civiliza??o revertidas na cozinha do sentido (2001): a realiza??o de uma feitura dos signos a partir da perspectiva de um cozinheiro cuja inventividade atinge uma singular produ??o do sentido, promovendo a ressignifica??o de m?ltiplos afetos, resist?ncias, cren?as, proibi??es ou tabus, morte e vida, transgress?es das significa??es humanas em permanente transforma??o. Essa constante reelabora??o, pulsante nos textos de Silviano Santiago, pode abrir fissuras e minar com as estruturas castradoras do pensamento, o que o situa fora da tradi??o interpretativa do c?none, do sublime, constituindo um contradiscurso capaz de provocar devires inesperados e insuspeitos. Os movimentos do organismo durante a alimenta??o (a percep??o, a digest?o e a excre??o ? processos de transforma??o do alimento e do corpo) s?o nossos desencadeadores da ressignifica??o dos sentidos. Em conflu?ncia com essa inusitada perspectiva barthesiana e a escritura do autor brasileiro, somamos o conceito de percep??o de Gilles Deleuze (2007), os devires e a constitui??o do corpo sem ?rg?os de Deleuze em parceria com F?lix Guattari (1996; 1997), o desconcertante sentimento do animal-estar de Jacques Derrida (2002), bem como outras inst?ncias da vertente filos?fica francesa do s?culo XX. Al?m dessas contribui??es, contamos com as diversas produ??es cr?ticas de Silviano Santiago, garantindo a heterogenia de seus escritos, uma vez que o escritor-cr?tico estimula o aproveitamento de sua po?tica em textos cr?ticos e o entendimento de sua literatura com pulsa??es ensa?sticas. Considerando as afinidades entre saberes como literatura, est?tica e filosofia, a fic??o de Silviano Santiago adentra na cozinha do sentido, manifestando, conforme Barthes, um discurso desconstrutivo que perfura o fascismo da l?ngua (1987), desfixando lugares, fazendo romper fronteiras e instaurando express?es n?o constitu?das (ou ainda porvir), sabores n?o experimentados, de onde emerge o novo. / This work establish a discussion that brings into play the make critic-literary of Silviano Santiago from fictions O banquete (1977), Uma hist?ria de fam?lia (1992) and De c?coras (1999), to investigate the powers of literature as the behaviors and practices of language that are linked to the semiologic conceptions of the philosopher Roland Barthes, in relation to the supplementary dimensions of culture and civilization reversed in the kitchen of meaning (2001): the realization of a making of signs from the prospect of a cook whose inventiveness achieves a singular production of meaning, promoting the resignification of multiple affections, resistance, beliefs, prohibitions or taboos, death and life, violations of human meanings in permanent transformation. This constant reworking, pulsating in Silviano Santiago?s texts, may open fissures and break with the castrating structures of thought, which places him outside the interpretative tradition of the canon, the sublime, constituting a counter discourse capable of causing unexpected and unsuspected becomings. The movements of the organism during eating (perception, digestion and excretion ? processes of transformation of food and body) are our triggers of the resignification of the meanings. In confluence with this unusual Barthes perspective and critical writing of the Brazilian author, we add the Gilles Deleuze?s perception concepts (2007), the Deleuze and F?lix Guattari?s becomings and the constitution of the body without organs (1996; 1997), the disconcerting feeling of the Jacques Derrida?s animal s?ance (2002), as well as other instances of the French philosophical strand of the 20st century. In addition to these contributions, we count on the various critical productions of Silviano Santiago, ensuring the heterogeneity of his writings, since the critical-writer stimulates the use of his poetic in critical texts and the understanding of his literature with essayistic pulsations. Considering the affinities between knowledge as literature, aesthetics and philosophy, the fiction of Silviano Santiago enters the kitchen of meaning, manifesting, according to Barthes, a deconstructive discourse that pierces the fascism of language (1987), unattaching places, making disrupt boundaries and establishing unincorporated expressions (or yet to come), flavors not experienced, from which emerges the new.

My purpose in this essay is to analyse sexual messages and symbolism in music videos. Sexual contact can be depicted in various ways, like symbols of something hidden, not only how men and women relate to each other through a sexual act. I’ve demarcated the study into two music videos: Rammsteins Pussy, and Tommy Chashs Surf, based on the videos controversial reputation from the public. My question at issue is how sexual messages depicture and how symbolism indicates. The study is based on a semiotic model based on Roland Barthes' theory of character, as he presents in the book, Elements of Semiology. The result of this study is that the depiction of sex in these videos is presented as a symbol of personal message, and as a provocation. It reflects previous views on sexuality through the centuries. The provocation itself reinforces the artists image.

Kurt Vonnegut Jr.’s literary style transforms from his first novel, "Player’s Piano" (1952), to his final book, "Timequake" (1997). Most of his novels adhere to a similar style – the narrators face a puzzling societal fault that is exaggerated in their dystopian societies, which hides Vonnegut’s humanistic leanings. This thesis, however, focuses on Vonnegut’s authorial identity, his use of the alter ego, and eventual entrance into the novel. His authorial role challenges the literary theory expressed in “The Death of the Author”(1967) by Roland Barthes and further discussed in “What is an Author”(1969) by Michel Foucault. Barthes explains an author metaphorically dies after his book is published and Foucault questions the author’s role and importance to his novel. Vonnegut juxtaposes fictional and nonfictional material whereby his character is paramount to his work. Therefore, Vonnegut challenges Barthes and Foucault’s notion that an author restricts his work; rather, Vonnegut’s identity empowers his novels.

in English The view of fashion as a system of signification, first introduced in the important work of Roland Barthes The Fashion System (1967), has been dominant since the development of Fashion Studies. But in the last two decades it has been increasingly criticized and confronted with the concepts of identity as flexible dimensions. From a semiotic perspective, the materiality of clothes almost "disappears" into representation. Emerging research on fashion, on the contrary, draws on Gilles Deleuze's notions, that ideas are inseparable from their material expression, and tries to follow attempts in fashion to break with representational mode. But, if Deleuze argues that the possibilities to escape the representation belongs to modern art, with its metamorphoses, what can we argue about fashion? The thesis underlines that above all, fashion is commerce, and each brand carefully constructs its system of values. The physical experience of wearing clothes is always influenced by the meanings circulating in the system of fashion. The limitations of applied semiotics of fashion are evident (clothing and its representations always exist in the context of further semiotic systems), but ultimately unlike the heterogeneity of everyday practice, the "methodological purity" of discursive practices permits...

The thesis deals with intertextuality in Karel Čapek's drama R.U.R. and Dan Wells' trilogy Partials Sequence. The aim of the thesis is the interpretation and subsequent comparison of the above-mentioned works and finding mutual resemblances mostly in the main motives, but also in genre characteristics, environment, story sequence and other topics reflected in both works. Since the topic of the thesis already assumes the existence of intertextual relationship between the two works, therefore the aim of the work is not proving its existence but we are trying to determine how far these similarities goes and whether they are just random intertextual similarities or whether Dan Wells, although he does not admit it publicly, necessarily had to be inspired directly by Čapek's drama. Keywords: intertextuality, Gerard Genette, Roland Barthes, Karel Čapek, R.U.R., Dan Wells, Partials Sequence, robot.

I dagens läge vill konsumenter se varumärken ta ställning i politiska och sociala diskurser och därför tenderar varumärken ofta navigera för att kunna representera sig själva som brydda om olika aktuella politiska frågor. När man ser till hur varumärken försöker ligga i linje med idéer om social rättvisa är det viktigt att notera kapitalismens roll i samhället, där det som är moraliskt ofta är bestämt eller påverkat av det som har ekonomiskt värde. Den här uppsatsen ämnar undersöka musikplattformen ColorsxStudios underliggande politiska budskap med hjälp av Roland Barthes teori om Myten. Uppsatsen dsikuterar även huruvida marknadsföringen plattformen bedriver är etiskt hållbar och förenlig med deras underliggande budskap och ideologi. Detta görs med hjälp av begreppet woke washing.

Denna studie undersöker meningsinnehållet i två uppmärksammade reklamfilmer från flygbolagen SAS och KLM. Syftet med studien är att urskilja vilka kulturella värderingar och föreställningar som kommuniceras i reklamfilmerna och hur dessa kommer till uttryck. Samt om det är möjligt att urskilja en underliggande myt i respektive film. Studien anknyter till semiotisk teori, utöver semiotiken ligger Roland Barthes mytteori som ett mer djupgående segment i det teoretiska ramverket. Mytteorin handlar om att belysa masskulturers mytiska karaktär och ideologiska funktion. För att göra undersökningen har en kvalitativ, semiotisk textanalys genomförts av det empiriska materialet. Analysarbetet utgår från ett antal empiriska frågor relaterade till den centrala semiotiska begreppsapparaten. Studiens huvudsakliga resultat identifierar en myt i båda reklamfilmerna. Ur analysen av SAS reklamfilm identifierades myten att kulturer formas i möten med varandra och att den skandinaviska identiteten är uppbyggd av och genom kulturella utbyten. I KLM:s reklamfilm påvisas myten att kunna vara en del av den klimatmedvetna gemenskapen och samtidigt fortsätta flyga. Båda filmerna underbyggs och motiveras av värderingar och föreställningar om att resande och kontakten och möten med människor är något nödvändigt. Filmerna tar sig olika former men möts i en universell tanke om att ‘flyget’ är essentiellt för mänsklig identitet idag. Således återfinns ett gemensamt underliggande budskap som förmedlas i båda texterna, men som tar sig olika uttryck och anspelar på olika myter.

This study explores the potential of semiotics in the non-visual realm of perfumery, focusing on the work of French perfumer Jean-Claude Ellena. Utilizing Roland Barthes’ three levels of signification as a theoretical framework – as presented in his essay Rhétorique de l’image – it analyzes the linguistic, denotative and connotative aspects of three perfumes created by Ellena for the French luxury house Hermès: Un Jardin en Méditerranée, Un Jardin sur le Nil and Un Jardin Après la Mousson. These fragrances serve as case studies, revealing how Ellena consciously utilizes perfumery raw materials as signifiers, in order to create olfactive illusions corresponding to a given signified. The study argues that these illusions serve as a primary communicative force within perfumery, transcending the sum of their individual parts to evoke olfactory imagery and symbolic meanings. Drawing on Ellena’s method, the analysis highlights the interplay between textual and olfactory meaning-making, engaging the user in an immersive narrative experience. This study aims to contribute to the broader academic discourse surrounding the sensory arts, underlining the potential of semiotics in understanding the symbolic narratives inherent in the art of perfumery.