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Showing 611 to 620 of 623 (0.041 seconds)Spelling suggestions: "subject:"semiotic ""
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Rhetorik in der Corona Pandemie –Appell oder Diktatur der Vernunft? : Wie drei demokratische Staatsoberhäupter, Merkel in Deutschland, Ardern in Neuseeland und Löfven in Schweden, in ihren Reden die Maßnahmen als Reaktion auf die Covid-19 Pandemie im März 2020 verbalisierenAuf der Strasse, Alexandra January 2022 (has links)
Die vorliegende Arbeit will den Fokus auf die angewandte Rhetorik (Aristoteles & Krapinger 2019) in einer Krise lenken, da von ihrer Effektivität die Rettung von Menschenleben abhängig ist (Ernst. 2004. S.247). Der Impuls für diese Arbeit kam deshalb von zwei Richtungen: zum einen ist es die aktuelle, durch die Corona Pandemie und Klimakrise geprägte gesellschaftliche Realität, in der die Autorin sich selbst bewegt und die es besser zu verstehen gilt. Zum anderen bezweifelt die Autorin die von Szymon Wròbel (2015) gemachte Behauptung, dass die heutigen, politischen Reden sich fast ausschließlich des Pathos bedienen und vor allem an die Emotionen der Zuhörer appellieren. Für die rhetorische Analyse wurde deshalb zunächst die sprachwissenschaftliche Theorie der Textpragmatik (Ernst 2004. S. 265) mit den Grundbegriffen von Logos, Ethos und Pathos (Aristoteles 2019. S.78) verknüpft und anschließend auf die drei ausgewählten Reden strukturell angewandt. Es konnte dadurch bewiesen werden, dass sich Ethos und Pathos ausgewogen in den ausgewählten Reden vorfinden lassen. Es bleibt die Frage, ob politische Reden ohne emotionelle Wirkung überhaupt Sinn machen würden. Von dem Ergebnis der Analyse ließen sich ebenfalls Rückschlüsse zu den jeweiligen Vertrauensverhältnissen zwischen Sprecher (Regierung) und Hörer (Bürger) ableiten und eine Verbindung zur sprachlichen Machtausübung herstellen. Demnach schlägt die Autorin am Ende vor, die Reden Merkels und Arderns als Diktaturen der Vernunft zu definieren und die Rede von Löfven als Appell der Vernunft. Es wurde deutlich, welch wichtigen Einfluß Vertrauen und die umfassende Interpretation und Auswahl von wissenschaftlichem Wissen als Vorbereitung auf die Ausarbeitung von politischen Reden haben und das unterschiedliche Kulturen in diesem Sinne ihr Krisenmanagement und sprachlichen Appelle auf unterschiedliche Voraussetzungen, mit unterschiedlichen Wirkungsfunktionen aufbauen. So stimmt die Autorin am Ende Wróbels Interpretation von Nietzsches Idee bezüglich der Rationalität und Rhetorik zu: Power does not limit itself, however, to simply defining a given interpretation or view of reality, rather, power defines and creates concrete social reality. (Wróbel 2015, 410)
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Det filmiska ögat : En undersökning av konstbetraktandets natur i tunnelbanan genom fotomontaget ”Den dagen, den sorgen” på Karlaplans stationLjung, Bo January 2018 (has links)
Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm. Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan? Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet? Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö. Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse. Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.
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Från svartvitt fotografi till målning och skivomslag : En studie av en bilds transformation / From black and white photograph to painting and album cover : A study of one picture´s transformationNiklasson Johansson, Marleéne January 2024 (has links)
From the perspective that it is one and the same picture that is changing, this essay includes semiotic analyses of Lynn Curlee´s painting Smoking angels, made in 1979, the photograph from 1928 wich inspired the artist, as well as Black Sabbath´s album cover Heaven and Hell, that was first released in 1980. Although the forms of the pictures are different the motif is quite the same, yet, what the pictures convey is different. The analysis will be based mainly by the use of two theories: Hans Belting opines that a picture can not exist on its own, that "the what" of an image is steered by "the how" in wich it transmits its message. The medium that is used and the physical form are the messengers but the picture happens where it is manifested. Wendy Leeds-Hurwitz´s theory implies that to understand what a picture means we need to study the context and culture that is prevailing where the picture is shown. How the picture is received in its different forms and what the factors are that play a part in this, is the main focus in this essay.
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"Et in Arcadia ego" : En konstvetenskaplig studie av Arkadien i bildmotiv / "Et in Arcadia ego" : An art science study of Arcadia in pictorial motifsKronberg, Tove January 2024 (has links)
This thesis aims to examine how the philosophy of Arcadia is portrayed compared to three paintings from Nationalmuseums exhibition Arkadien: ett förlorat paradis? Firstly, the essay creates a frame for what Arcadia should look like and communicate by analyzing three established Arcadia-motifs with the same title, Et in Arcadia ego by Nicolas Poussin from 1638 and 1627, and Guercino from ca 1620. The framework shows that Arcadia contains three dominating themes, which are the presence of antiquity, the pastoral ideal and the presence of Death. The framework also shows that Arcadia aims to have a clear communication with the viewer by using direct symbols and double linguistic messages. Secondly, the essay compares Poussins and Guercino's Arcadia with Nationalmuseums Claude Lorrains Landskap med Argus som vaktar Io (ca 1644–1645), Francois Només (1593-ca 1645) Trojas brand med Aeneas och Anchises flykt (u.å) and Thomas Blanchets Kleobis och Biton (1650). The results are that Nationalmuseum has a different view of Arcadia compared to Poussin and Guercino, and uses it as an elastic concept, which can categorize paintings that don't fully communicate Arcadia's original thoughts and ideas as truthfully Arcadia-motifs.
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Lotte Lasersteins feminina blick på den moderna kvinnan : En studie av fyra kvinnogestaltningar / Lotte Laserstein's Feminine Gaze on the Modern Woman : A Study of Four Female DepictionsUnneberg, Alicia January 2024 (has links)
No description available.
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Döden som en politisk resurs : En semiotisk och historiskt kontextuell analys av Jacques-Louis Davids, Paul-Jacques-Aimé Baudrys och Jean-Joseph Weerts’ respektive gestaltningar av Marats död mellan åren 1793-1880 / Death as a political resource : A semiotic and historical contextual analysis of Jacques-Louis David’s, Paul-Jacques-Aimé Baudry’s, Jean-Joseph Weerts’ respective representations of Marat’s death between the years 1793-1880Cujic, Bianka January 2023 (has links)
This essay examines whether it is possible to ascertain which ideologies and values prevailed in France at the time of the creation of Jacques-Louis David’s, Paul-Jacques-Aimé Baudry’s and Jean- Joseph Weerts’ respective oil paintings La Mort de Marat, Charlotte Corday and L’Assassinat de Marat. The analysis is based on an semiotic method in order to find out from historical and cultural contexts whether variations in the artworks’ depictions of the death of the French revolutionary Jean-Paul Marat convey different messages. By using mourning and suffering from a theoretical perspective, the essay discusses how the visualization of these emotional expressions has been used as a political resource to influence viewers. The conclusion of the analysis is that the way images depict suffering or the absence of suffering can be used to unnoticeably convey an ideological message which then becomes part of the collective memory. / Denna uppsats undersöker huruvida det går att utröna vilka ideologier och värderingar som rådde i Frankrike vid uppkomsten av Jacques-Louis Davids, Paul-Jacques-Aimé Baudrys och Jean-Joseph Weerts’ respektive oljemålning La Mort de Marat, Charlotte Corday och L’Assassinat de Marat. Analysen utgår från en bildsemiotisk metod för att utifrån historiska och kulturella kontexter få fram huruvida variationer i verkens gestaltningar av den franske revolutionären Jean-Paul Marats död förmedlar olika budskap. Med sörjande och lidande ur ett teoretiskt perspektiv diskuteras i uppsatsen hur visualiseringen av dessa känslouttryck har använts som en politisk resurs för att påverka betraktare. I analysen framkommer det att hur bilder gestaltar lidande eller frånvaron av lidande kan användas för att obemärkt föra fram ett ideologiskt budskap som därefter blir en del av det kollektiva minnet.
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Kulturspezifische Interaktionsstile oder Wenn schwedischsprachige und deutschsprachige Arbeitskollegen im Restaurant zu Mittag essen : Eine Studie zur Einbettungskultur in kommunikativer Praxis / Kulturspecifika interaktionsstilar eller När svenska och tyska arbetskollegor äter lunch på restaurang : En studie om inbäddningskulturen i kommunikativ praktikRöcklinsberg, Christoph January 2009 (has links)
Interactions are formed and shaped differently from culture to culture. This thesis focuses on this phenomenon and in the first part deals with (from a theoretical view) the question, how the interplay between language-use and culture can be described. A cross-disciplinary approach within the scope of cross-cultural communication research is developed as is a semiotic concept, based on mainly linguistic, interactional and anthropological theories and methods. In order to describe different culture-specific interactional styles the semiotic field called embedding culture is outlined as an important resource for participants organizing talk-in-interactions. In the second part of this book the relevance of this approach is applied and tested. With the aid of various video recordings of ‘lunch-talks’ among colleagues at a restaurant in Sweden and Germany, this specific type of action and their cultural patterns are analyzed in order to describe cultural-specific styles in face-to-face-interaction. The methodological problem of recorded interaction is pointed out and the role of the camera highlighted. As the analyzed data is mainly based on interactions between men also gender-aspects are discussed. Furthermore, the scenario, time aspects and the customs and rituals of interactions at table are taken into account as relevant features of the embedding culture, all going into a culture-specific style of interaction. The results of the empirical study are, finally, correlated with other, not interaction-based analyses in the field of cross-cultural communication, and the specific national-cultural dimensions are critically discussed. / Interaktioner utformas och gestaltas olika från kultur till kultur. Avhandlingen fokuserar på denna aspekt och behandlar först ur ett teoretiskt perspektiv hur detta fenomen kan beskrivas. Med en tvärvetenskaplig ansats inom ramen av den s.k. interkulturella kommunikationsforskningen (cross-cultural communication) kombineras kulturanalytiska med lingvistiska och samtalsanalytiska teorier och metoder. Ett semiotiskt koncept utarbetas med hjälp av vilka olika kulturspecifika interaktionsstilar kan beskrivas. Det semiotiska fältet som koncipierats kallas för Einbettungskultur (’inbäddningskulturen’). I den andra delen används och prövas detta koncept. Med hjälp av ett flertal videoinspelade lunchsamtal i Sverige och Tyskland analyseras konkreta exempel på kommunikativ praxis och deras kulturella mönster i jämförbara interaktionssituationer. Det beskrivs hur den kulturspecifika interaktionsstilen vid lunchen bland svenska arbetskollegor kan skilja sig från det tyskspråkiga sättet att gestalta samma interaktionstyp. Inspelningssituationen problematiseras och kamerans roll i interaktionen diskuteras. Eftersom analyserna huvudsakligen baseras på samtal mellan män tas genusperspektivet upp. Vid sidan av själva samtalen analyseras även scenariot, tidsaspekten och ritualiseringen av interaktionen vid bordet som tre aspekter av inbäddningskulturen som tillsammans bidrar till en kulturspecifik interaktionsstil. Resultaten av den kulturella analysen som tar sin utgångspunkt i en konkret och jämförbar interaktionssituation i olika kulturer relateras avslutningsvis till andra, icke-interaktionsbaserade analyser inom den interkulturella kommunikationsforskningen och nationalkulturella beskrivningar problematiseras.
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Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslorJägerskog, Mattias January 2010 (has links)
<p>The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper <em>Expressen </em>and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol.</p><p>Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence <em>decoders</em> of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding.</p><p>The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned.</p><p>In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol.</p>
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Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslorJägerskog, Mattias January 2010 (has links)
The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper Expressen and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol. Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence decoders of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding. The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned. In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol.
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Textmedierade virtuella världar : Narration, perception och kognition / Textually Mediated Virtual Worlds : Narration, perception and cognitionPettersson, Ulf January 2013 (has links)
This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.
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