Studiens syfte var att uppmärksamma den svenska konstnären Elli Hemberg. Som ett exempel på ett av konstnärens offentligt placerade verk, analyserades och tolkades skulpturen Tre löv (1974) med ikonografisk/ikonologisk teori och metod. Analysen inspirerades även av semiotisk och receptionsestetisk teori och metod. Konstnären gestaltade en skulptur i rostfritt stål föreställande tre löv. Genom att använda ett klart och enhetligt formspråk skapade konstnären balans och harmoni, men även liv och rörelse i skulpturen. Skulpturens inre mening tolkades som samtida kritik av modernismens konstutveckling. Olika slags kontexter kan ha avgörande betydelse för betraktarens tolkning av verket. / The aim of the study was to draw attention to the Swedish artist Elli Hemberg. As an example of one of the artist´s publicly placed works, the sculpture Three Leaves (1974) was analyzed and interpreted using iconographic/iconological theory and method. The analysis was also inspired using semiotic and reception aesthetic theory and method. The artist created a stainless steel sculpture representing three leaves. By using a clear and uniform design language, the artist created balance and harmony, but also life and movement in the sculpture. The inner meaning of the sculpture was interpreted as contemporary criticism of the development of art during the modern era. Different kinds of contexts can be decisive for the viewer´s interpretation of the sculpture.

The aim of this thesis is to study the structures and contents of art paraphrases during the first year of the Covid-19 pandemic through semiotics, intertextuality and intermediality, to create an understanding of what the reuse, or appropriation, of art can mean and which roles it could play in a contemporary visual culture. To achieve this, six “Covid paraphrases” are analysed alongside a rich complementary material collected from November 2021—February 2023 through netnographic methods focused on the social media platform Instagram. The study is centred around three categories of Covid paraphrases: positively modified paraphrases, negatively modified paraphrases and paraphrases modified through the act of substitution. The study finds that Covid paraphrases often build upon famous classical art works that contain human figures. These figures, as well as other elements of the image, are shown to be removed, relocated or replaced in the paraphrase. In other Covid paraphrases, new details are added to the image, often portraying objects connected to the pandemic, such as face masks or toilet paper. Most often, they are created, distributed and viewed through digital media, unlike the art works they build upon which generally take the shape of physical paintings. Surprisingly, the study of art paraphrases during the pandemic shows that the visual culture of Covid-19 consists of a considerable amount of humour despite the unstable state of the world. In this context, the Covid paraphrases play the role of the entertainer, and by reminding the public of the authorities’ restrictions in the fight against the new coronavirus, as well as of the long history of art, the paraphrases can also be seen as a source for information. Together with other new images, the Covid paraphrases create a new visual language filled with pandemic-specific signs. This reuse of images updates classical art works and gives them a new meaning in a modern setting, while simultaneously attaching the new paraphrase to an established history. These processes leave room for a revised and expanded art historical canon suitable for a global Internet culture.

My study contains a semiotic analysis of three screen captures of still lifes from the music video PrettyBones by the artist Yeule, directed by Joy 秀 Song. The music video depicts several scenes with inspiration from the Dutch great power era and it’s still life painting. The visual elements of the music video have a focus on the course of life and one's own mortality, themes that have long been addressed through still life painting. My study is based mainly on David Petit’s (1988) studies about the symbolism and meaning of 16th-17th century Flemish still life painting. The study also contains segments of Fanny Ambjörnsson’s (2011) studies about the color pink. The purpose of the study is to investigate what the still life communicates through the context of 16th-17th century Flemish iconography and through acontemporary semiotic reading. Results of the study shows that there are similarities between the themes that are present in the still life with contemporary objects and the more traditional still lifes. It also touches on morals and societal norms about feminine identity.

This study is about underlying discourses of two tv-series for children from opposite parts of the globe. Focus lays on which morals and values adults choose to teach children through popular culture, even on an unaware basis and how does differ, or not, between different societies. The theoretical framework chosen for this study are semiotics in combination with the concept of the gaze by Laura Mulvey. Semiotics is the study of signs and their underlying meanings constructed by society. By studying popular culture with the tools provided by semiotic analysis it is possible to discouver underlying myths, social constructions of society, that are reproduced over and over again to remain alive. Mulveys theory of the gaze is helpfull in the process of decoding those constructions to discover the dominant partys and norms represented. In this particular study underlying structures such as patriarcal power relations, unequality between the representation of different ethnicities and the consistent presents of the male gaze where discovered. The conclusions made are that some social constructions are more global then others and that popular culture in a high degree mirrors societies norms, preferences and values.

Syftet med studien är att undersöka hur de två kvinnliga huvudkaraktärerna, prinsessan Aurora och den onda fen Maleficent framställs som offer och/eller gärningspersoner i Törnrosa (1959) och Maleficent (2014). Det teoretiska ramverket består av Nils Christies idealtyper och begreppet normativ femininitet. Med hjälp av tidigare forskning främst bestående av skildringar av kvinnliga karaktärer i populärkultur, samt ett semiotiskt angreppssätt studeras bland annat färger, vinklar, och ljus för att komma åt underliggande föreställningar om offer- och förövarskap liksom om gott och ont. Studiens resultat och analys visar att karaktärerna framställs mer idealiskt och stereotypt när det kommer till offer- och förövarskap i Törnrosa medan dessa givna och distinkta positioner luckras upp allt mer i Maleficent. I Maleficent tenderar de normativa och idealiska rollerna istället att frångås och bli mer flytande, framförallt sett till Maleficent som karaktär, och ett görande av en avvikande femininitet synes i högre utsträckning hos båda karaktärerna. Vidare förstås studiens fynd och slutsatser i en bredare kontext och visar på samhällets till viss del förändrade syn på kvinnor och femininitet, samt offer- och förövarskap.

Between 2018 and 2021, the amount of young snuff users increased drastically. The same year, 2018, Velo, a tobacco free nicotine snuff, was launched on the Swedish market. They made themselves known through organizing big events and by engaging in influencer marketing. Due to Velos product being tobacco-free, the company is not covered by the Swedish Tobacco Act. As a result of this, they are able to engage in different marketing strategies than its peers that sell snuff containing tobacco. This new possibility of marketing is unique and gives the company a competitive edge and broadens its marketing possibilities. A loophole in the legislation enables new and effective communication strategies for the addictive "All White" snuff. Through this, Velo can market its products on social media and use influencers to entice their followers to start consuming the highly addictive product The purpose of this study was to investigate which visual resources Velo chooses to present and which group belonging this creates. Since images carries signs, this makes the images a central part of the exchange of meaning between sender (Velo) and receiver (young target group). It is therefore essential to look more deeply at how visual resources are used to possibly attract a young target group. The essay aims to answer the two research questions: "What visual resources are used in Velo's Instagram feed to attract and influence a young target group?" and "How does Velo use visual resources to create a sense of group identity for its target audience?" The theoretical frameworks on which the thesis was based were primarily semiotics and social semiotics. Additionally, the semiotic concepts denotation and connotation were used to identify the underlying meaning of the signs in Velos images. To be able to answer the research questions, theories such as Goffman's self representation theory and Bourdieu's take on social fields and capital were used. Previous studies regarding the identity shaping of young adults and teenagers, communities and its creation of groups belonging online as well as influencers persuasion on social media was applied. By using denotation,connotation, theoretical frameworks and previous research we were able to unravel repeated patterns, similarities and themes in Velos images. The study was conducted using a qualitative semiotic content analysis where 143 photos from Velo's Instagram account were selected between a certain time frame. The material was demarcated and resulted in 41 images. From the remaining pictures, three themes were found which were "Accessory", "Image of person" and "Social context". Then nine posts from each 4theme were randomized, which resulted in a total of nine images that became our final analysis objects. After analyzing the nine analysis objects based on denotation and connotation, the theoretical frameworks were applied to the analysis. The result showed that the analysis object contained various symbols for a certain social and cultural capital that could be interpreted as a desirable habitus for the target group. The capital that Velo presented could be seen as common interests and a contributing factor to create a sense of group belonging. The interests could be seen as requirements for identifying with the group affiliation. Group belonging is important for the formation of identity of young people. Influencers as opinion leaders with characteristics as reliable and authentic contributed to a natural recommendation of the brand. Influencer's associations were naturally transferred to Velo. In summary Velo uses signs to build an attractive lifestyle which it invites people to be a part of. The result concluded that visual resources such as influencers, signs of social context, high cultural and social capital and the transfer of positive associations were contributing factors to an attractive group identity to target a young audience.

Välgörenhetsorganisationer använder sig av emotionell marknadsföring, via bland annat storytelling i reklamfilmer, med avsikten att väcka känslor och erhålla monetära gåvor från mottagarna. En av dessa organisationerna är Barncancerfonden som år 2013 ändrade sitt kommunikationskoncept i takt med att forskningen inom barncancer gick framåt. Numera används den blå stolen, som är en symbol för Barncancerfonden sedan år 2009, för att signalera ett budskap om hopp istället för död och saknad. Detta genom att fylla stolen med barn och inte längre låta den stå tom i deras reklam. Denna studie syftar till att undersöka hur Barncancerfonden konstruerar tre utvalda reklamfilmer som använder storytelling för att förmedla sitt budskap om hopp, samt hur mottagarna i åldern 25-30 år upplever dem. Genom kvalitativa samtalsintervjuer med fem respondenter inom målgruppen, samt analys av reklamfilmernas innehåll kan denna studie konstatera att mottagare upplever reklamfilmer på olika sätt beroende på deras värderingar och tidigare erfarenheter. Faktorer som empati, relaterbarhet och berättelsens dramaturgi influerar mottagarens upplevelse av reklamfilmerna. Studien visar även att den blå stolen, som sedan 2013 är tänkt att vara en symbol för hopp om överlevnad, väcker sorgsna och oroliga känslor samt att stolen upplevs representera att något inte står rätt till.  Förtroendet för Barncancerfonden och trovärdigheten för deras budskap är beroende av hur organisationen framställer sig själva och förmedlar sina värderingar, samt att dessa stämmer överens med mottagarens uppfattning om dem. / Charities use emotional marketing, including storytelling in commercials, with the intention of evoking emotions and obtaining monetary donations from recipients. One of these organizations is the Children's Cancer Foundation, which changed its communication concept in 2013 as research into childhood cancer progressed. Nowadays, the blue chair, which has been a symbol of the Children's Cancer Fund since 2009, is used to signal a message of hope instead of death and missing. This is done by filling the chair with children and thus no longer leaving it empty in their advertising. This study aims to investigate how the Children's Cancer Fund constructs three selected commercials that use storytelling to convey their message of hope, and how the recipients aged 25-30 years old experience them. Through qualitative interviews with five respondents in the target group, as well as analysis of the content of the commercials, this study finds that recipients experience commercials differently depending on their values and past experiences. Factors such as empathy, relatability and the dramaturgy of the story influence the recipient's experience of the commercials. The study also shows that the blue chair, which since 2013 is supposed to be a symbol of hope for survival, evokes sad and anxious feelings and that the chair is perceived to represent that something is not right. Trust in the Swedish Childhood Cancer Foundation and the credibility of its message depend on how the organization presents itself and conveys its values, and whether these are consistent with the recipient's perception of them. / <p>Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet</p>

Denna uppsats handlar om en undersökning av Försvarsmaktens reklamkampanjer ‘’Välkommen till vår verklighet’’ och ‘’Just nu”, från år 2011 och 2020. Studiens två frågeställningar ligger som grund till vårt syfte att undersöka hur Försvarsmakten framställer sig i deras två centrala reklamkampanjer och vilka skillnader och likheter som framkommer mellan dessa årtal. Frågeställningarna har besvarats med hjälp av framtagna teoretiska ramverk och tidigare forskning. Undersökningen i dess helhet gjordes med en kvalitativ innehållsanalys och analysen genomfördes med en multimodal audiovisuell analys. Innan vi bestämde oss för att genomföra undersökningen med denna analysmodell tog vi fram andra modeller och jämförde dessa för att hitta den mest relevanta analysmodellen för studien. Resultatet visar att reklamfilmerna syftar till att uppmuntra individer att söka till Försvarsmakten och ge stöd till dess huvuduppdrag, att försvara Sveriges demokrati och medborgare. Studien visade att Försvarsmaktens reklam avser att skilja på verklighet och fiktion för att skapa en trovärdig bild som militär i Sverige. Studien visade också att militären lade stor vikt på filmens innehåll och visade upp militären som heroiska för att få stöd för sitt uppdrag. / This essay is about analyzing the Swedish Armed Forces' advertising campaigns "Welcome to our reality" and "Right now", from 2011 and 2020. The study's two main questions is to examine how the Armed Forces presents themselves in their two central advertising campaigns and what differences and similarities emerge between the advertising campaigns. The questions have been answered with the help of a theoretical framework and previous research. The research was conducted with a qualitative content analysis and the analysis was conducted with a multimodal audiovisual analysis. Before we decided to conduct the study with this analysis model, we studied other models and compared them to find the most relevant analysis model for our study. The results show that the commercials are intended to encourage individuals to apply for the Swedish Armed Forces and give support to there main mission, to defend Swedens democracy and citizens. The study showed that the Armed Forces commercial intend to distinguish between reality and fiction to give a proper sense of what to except when working within the military of Sweden. The study also showed that military put a strong empahasis in the content of the film, showcasing the heroics of the military to get support for there mission.

Den här studien undersöker om det går att återfinna en gestaltning av en ung kvinna idag som använder sin sexualitet som främsta vapen i TV-serien Euphoria. Forskning imom humaniora tyder på att kvinnor i allt yngre ålder lär sig att använda sin sexualitet till sin fördel. Med multimodal kritisk diskursanalys har jag undersökt hur sexualiteten, med ett urval av semiotikens verktyg, i det här fallet färg, symboler och kameravinklar, gestaltas. Vidare har jag undersökt om den unga kvinnan av idag som gestaltas tycks göra just det, använda sin sexualitet som främsta vapen. Detta genom att se till om någonting talar för att hon använder sig av självrepresentation för att representera sexualiteten. Studiens viktigaste resultat är att det går att återfinna tydliga tecken som talar för att den gestaltade unga kvinnan använder sig av sin sexualitet för att gynna den egna självrepresentationen och vidare utvinna makt. / This study is looking to investigate the conscious use of represented sexuality by a young, female character from the TV-series Euphoria. Studies within humanities show that women at early ages learn how to use their sexuality as a weapon. Using multimodal critical discouse analysis, I aim to investigate how this sexuality, with semiotic tools such as color, symbols and angles, is represented. Furthermore, I aim to see if there are any signs of conscious self-representation or use of the sexuality by the young woman, and if it equal power. The most important results found are the clear signs that show how the young woman does indeed use her sexuality for her own benefit. As well as how she, by conscious self-representation gains power.

Denna studie undersöker olika semiotiska resurser, teckensystem och tecken på lärande som visat sig i mitt övande på polyrytmik med stöd av det designteoretiska perspektivet. Övningen har haft sin utgångspunkt i två olika metodböcker; Applying Karnatic Rhythmical Techniques to Western Music av Rafael Reina (2015) och The Reference Rhythm Method av Mulle Holmqvist (2010). I Rafael Reinas bok lär författaren ut grunderna inom det indiska tala-systemet, som är en del av den sydindiska klassiska musiken. Mulle Holmqvists metod går ut på att lära sig polyrytmik genom att först lära sig en enklare rytm, som påminner om den önskade polyrytmen, för att sedan jämna ut slagen tills det uppstår en polyrytm. Genom att följa min egen lärprocess med hjälp av loggbok och videoinspelningar vid användandet av dessa metodböcker, redogörs i resultatet för hur olika semiotiska resurser kommit att visa sig och hur de i sin tur synliggjort olika tecken på lärande. Exponerandet av dessa tecken på lärande och användandet av resurser har resulterat i en ökad förståelse för hur olika metoder för polyrytmik kan användas och vilka metoder som fungerat bäst för mig. / This study examines various semiotic resources and signs of learning that have manifested themselves in my practice of polyrhythms, with the support of the design theoretical perspective. Two different method books have been used in this essay; Applying Karnatic Rhythmical Techniques to Western Music by Rafael Reina (2015) and The Reference Rhythm Method by Mulle Holmqvist (2010). Rafael Reina's book teaches the basics of the Indian tala-system, which is part of South Indian classical music. Mulle Holmqvist's method involves learning polyrhythms by first learning a simpler rhythm, which resembles the desired polyrhythm, and then level out the beats until a polyrhythm occurs. By following my own learning process with the help of a notebook and video recordings, whilst using these method books, it is shown in the results how different semiotic resources is discovered and how they affect different signs of learning. Exposing these signs of learning and the use of resources has resulted in a greater understanding of how different methods of polyrhythms can be used and which methods have worked best for me.