La similitude visuelle peut être définie, dans le cadre de l’écriture religieuse – rhétorique et poétique – en France de 1600 à 1666, comme une forme de comparaison développée en parallèle, qui  met en relation les phénomènes de la lumière et de la vision d’une part, et un propos religieux de l’autre. Elle ne cesse, depuis la fin des années 1610, de perfectionner ses composantes scientifique et rhétorique, en même temps qu’elle s’adapte à l’évolution des sensibilités théologiques, et atteste ainsi d’une remarquable écoute de la société. Pourtant, elle se raréfie jusque dans les années 1660. L’objet de ce travail est donc de chercher à comprendre comment une figure, fondant son propos sur une donnée scientifique actualisée avec énergie et constance, a pu connaître un déclin aussi soudain. Malgré ses refondations successives sur un savoir optique de plus en plus rigoureux, la similitude visuelle meurt à petit feu, car le postulat d’une ressemblance entre les réalités matérielles et spirituelles, sur lequel elle repose, est doublement en contradiction avec son temps. En effet, la similitude postule que la science peut servir à la religion alors que les deux domaines s’éloignent, et suppose que le monde est empli de signes du divin, alors que la théologie elle-même, sous l’effet de tendances augustiniennes profondes, renonce à cette idée. Ceci lui impose au fil de ses rénovations de se dissocier progressivement de son objectif premier, la connaissance de Dieu, au profit de la connaissance de l’homme ; dans le même temps, l’évolution artistique tend à bannir l’érudition, désormais ressentie comme pédante. C’est ainsi que progressivement, elle devient un outil de moraliste religieux, prélude à la sécularisation et à la disparition de la figure. / The “similitude visuelle” (“visual simile”) is a form of comparison – written as a parallel – important in religious prose and poetry in France between 1600 and 1666. This comparison creates a link between physical phenomenons of light and vision on one side, and a religious matter on the other side. This figure keeps improving its scientific and religious components, and at the same time follows the evolution of Science, Rhetorics and main theological currents, which means the “similitude visuelle” is open to its society. However, the “similitude visuelle” gets scarce until the 1660 decade. This work aims at understanding why a figure which is able to renew its scientific foundations has to face such a decline. In reality, the “similitude visuelle” is dying because the mere idea of a likeness between material and spiritual realities is in contradiction with the evolution of Seventeenth Century Culture. As a matter of fact, authors who use this form believe that the science of Optics can be useful to religion, whereas the two domains are getting loose; the “similitude visuelle” assumes that the world is full of signs of the divinity, whereas theology, under a strong Augustinian current, is giving up this idea. Gradually, similitude must leave its first aim, which was God’s knowledge, in order to become a tool for religious moralists, which is the first step towards the secularisation and the death of this figure.

Current Frame of Religious Freedom in the System of European Protection of Human Rights Abstract This thesis deals with the topic of protection of Freedom of Religion in the System of European Protection of Human Rights. It begins with a description of the formulation of this freedom in the Convention for the Protection of Human Rights and Fundamental Freedoms, Charter of Fundamental Rights of the European Union and the legal systems of Germany, Austria and Czech Republic. The legal systems of Germany and Austria are very close to the Czech one, therefore the acquired knowledge might become an inspiration for considerations of possible future legislative changes in the Czech Republic (also considering that while the integration of other cultures is still a relatively new topic in here, the above mentioned other states have already much more experience on this field). Another reason why this choice was made is also a wide range of interesting court decisions concerning the topic of this thesis mainly in Germany, but also in Austria. The description of the formulation of the Freedom of Religion in general is followed by the theoretical description and praxis of teaching Religion at public schools in the above stated countries. It is obvious from the comparison of the praxis in the aforementioned states that...

This research examines what type of lifestyle that is communicated through the Instagram account of the company Nelly. Since previous research show that women are affected by what is shown in the media, I chose to investigate whether or not social status is communicated through Instagram accounts. More specifically, I chose to investigate Nelly's Instagram account as the company is the leader for young women in the fashion and beauty industry in Sweden. The research is a qualitative content analysis made with a semiotic approach and 16 pictures were analyzed to find symbols of social status. The result shows that social status is communicated through Nelly's Instagram account. The company not only shows their products on their Instagram account, but also symbols that indicate that you should have a feminine and luxurious lifestyle.

O presente trabalho tem por objeto a análise da composição da obra Uma novela enfadonha de Antón Tchékhov. O protagonista da novela é único dentro da criação tchekhoviana. Trata-se de um cientista de renome mundial que, ao enfrentar pela primeira vez a dúvida acerca da significância de sua própria existência, tenta resolver esse problema, tão doloroso para ele próprio, por meio de reflexões lógicas registradas em seu diário. Contudo, sofre um fracasso absoluto. Redigida em primeira pessoa, nesta obra, como em toda a criação tchekhoviana, é característico um método de escrita objetivo, de tal forma que a opinião das personagens é, de fato, a opinião delas, e não representa o parecer do autor. É possível compreender a posição de Tchékhov na novela, onde não há uma única palavra direta do autor, apenas pela observação de certos sinais expressos no subtexto. A partir disso, analisamos aqueles sinais que constituem os elementos estilísticos básicos da composição partes do enredo que incluem o tempo presente e as recordações, o léxico, os temas da morte, a natureza, os animais, a música, além dos detalhes, símbolos, ritmo, a caracterização das personagens e o cronótopo. Mostramos como todos esses elementos, ao se entrelaçarem e realçarem uns aos outros, conformam o subtexto da obra, e contribuem para a realização da ideia central do autor: mostrar a situação psicológica da pessoa quando sua vida se aproxima do fim, quando é levantada a questão do sentido último e concreto da vida humana, no pano de fundo do processo histórico infinito. Além disso, examinamos a história da criação da novela, observando esse processo por meio da análise das cartas do autor. Também ponderamos os trabalhos da crítica dedicados a Uma história enfadonha em diversos momentos históricos de estudo da obra. / The purpose of this work is to study the composition of the Chekhov\'s novel \"A Dreary Story\". The main character of this novel is unique for Chekhov since he is a World known scientist. Being in doubt for the first time about the meaning of his life he is trying to resolve this painful problem with the help of logical reflections in his diary - but fails. The novel has the form of a narrative of the main character. In Chekhovs\' writings the opinion of the character never reflect the opinion of the author. Therefore, to understand the Chekhov point of view in a novel that does not contain single word directly from the author, one has to be attentive to special signs in the subtext. We analyze these signs, that are main stylistic elements of the composition such as the plot, the narrative in the present and in recollections, the lexis, the themes of death, of nature, of animals, musics, as well as the details, symbols, the rhythm, the characters and the chronotop. We show that all these factors interact and clarify each other to compose the subtext of the novel. They conspire to underline the main idea of the author to show the psychology a man when his life is coming to an end and then he is concerned with the meaning of his particular finite life at the background of an infinite historic process. Besides, we consider the history of creation of \"A Dreary Story\" by looking at the author\'s correspondence and analyzing the critics dedicated to the novel.

The purpose of this research is to determine whether optimal ad placement and page context can significantly impact advertising effects, by extending hemispheric processing theory. This study contributes to the marketing literature by 1) addressing theoretical conflicts regarding optimal hemispheric ad placement (more favorable effects with leftward photo ads and rightward text ads; Janiszewski 1988) and page context (matching activation from "priming" of opposing brain hemispheres Janiszewski 1990), 2) by evaluating multiple advertising effects in relation to mere exposure rather than focusing primarily on attitudes (Janiszewski 1988, 1990), and 3) by addressing an important knowledge gap regarding optimal Web advertising (Dahlen, Rasch and Rosengren 2003). A growing amount of money is being spent on Internet advertising, with revenues totaling $12.5 billion in 2005, up more than 30 percent over 2004 (IAB 2006). However, banner ad click-through rates are low (between .1 and .2 percent for standard ads; DoubleClick 2007) and only 10% of business executives believe that banner advertising is highly effective in generating new business (Forrester 2006). Advertisers continue to use banner ads, perhaps because the "branding" benefits are not limited to clickthroughs (Briggs and Hollis 1997). While numerous ad-related factors have been previously studied (e.g., ad context creative factors, recall/recognition effects, repetition), to the author's knowledge no research has examined the effect of banner ad placement on advertising outcomes such as attention, recognition, brand attitude and purchase intention. / A 2 x 2 x 2 between subjects factorial design was implemented, in which the ad type (pictorial or verbal), ad placement (left or right of Web page), and the page type (text or image-oriented) were manipulated in an online environment. While the results only partially support the hypotheses (rank-ordered stimuli groups from "optimal" to "least optimal" effects) matching activation and hemispheric ad placement appeared to differentially affect advertising outcomes. A supplementary data analysis, which directly compared hemispheric ad placement and matching activation, indicates that matching activation has a greater effect on attention, while hemispheric ad placement has a greater effect on purchase intention. The findings suggest that online advertising efforts should be specifically matched with advertising goals. Managerial implications are discussed. / by Kendall Goodrich. / University Library's copy lacks signatures of Supervisory Committee. / Thesis (Ph.D.)--Florida Atlantic University, 2007. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2007 Mode of access: World Wide Web.

The intention of this thesis is to explore the innate human desire to pursue an ideal existence. This compulsion recurs throughout history, regardless of race, religion, or geography, revealing itself through multiple disciplines such as art, design, film, music, and architecture. Humankind’s propulsion towards utopia evidences the human condition and our desire to create an improved existence for ourselves and for those who follow. It is this idyllic goal that promotes change, social progress, and ultimately unites humankind. This thesis will inform and facilitate a platform from which to experience and reflect upon our collective utopian ambition through the lens of graphic design. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Made available in DSpace on 2016-08-10T10:34:04Z (GMT). No. of bitstreams: 1 CLAUDIMECIA BRITO TRANCOSO.pdf: 802838 bytes, checksum: 2519b46b1f0ae5e63940097e6183f154 (MD5) Previous issue date: 2008-09-11 / This study has like focus transform process of identity the Brazilian novel: Viva o povo brasileiro, by João Ubaldo Ribeiro (1984). The first, we exam relationship that this work kept with the postmodernism in that the Brazilian identity assumes subvertsive and revolutionary character. This novel breaks the barrriers between history and fiction introduction meta-fictional discourse that characters are action and imaginary. So we have the Brazil is poetic space - house/Country built only for literate arts discourse though language that transform the facts in narrated universe. After analyze the official history in two perspectives: domineering and dominated that relationship between themselves and it forms the identity Brazilian people that are heroes. However, they occupate centre of narrative with national and human conscience. This artist fictional universe, the collectivity ideia include difference and recognition of Brazil like mestizo. So we conclude our study showing like man if relatioship with his identity from a symbolic construction and he down a dialogue with art in itself. This dialogue lead the man of mystery and uncertainty future. / O estudo aqui desenvolvido tem como foco a transfiguração identitária do povo brasileiro no romance Viva o povo brasileiro, de João Ubaldo Ribeiro (1984). Enfatizamos, primeiramente, a relação que essa obra mantém com o pósmodernismo, revelando que a identidade do brasileiro assume um caráter subversivo, revolucionário. Contudo, ao romper barreiras entre a historiografia e a ficção, a obra apresenta um discurso metaficcional em que personagens são ação e imaginário ao mesmo tempo. O Brasil como espaço poético, casa/pátria, está voltado para os discursos produzidos pela arte literária que, por meio da linguagem, transfigura os fatos para o universo narrado. Após o desenvolvimento dessa análise, voltamos a atenção para a história oficial, que é repensada e transfigurada sob dois pólos: dominadores e dominados, formando duas linhagens que se entrecruzam e constrói a identidade do povo brasileiro. Povo este, reconhecido como herói, por isso ocupa o centro da narrativa e produz discursos de consciência nacional e humana. Nesse universo ficcional-artístico, é central a idéia de coletividade que inclui a diferença e o reconhecimento do Brasil como país mestiço, em que o outro não importando qual seja a sua origem étnico-cultural, é visto como parte desse universo. Sendo assim, fechamos o nosso estudo, mostrando de que forma o homem se relaciona com a sua trajetória identitária a partir de uma construção simbólica, estabelecendo um diálogo com a arte em si mesma, no qual se abre para o futuro com seus mistérios e incertezas.

Made available in DSpace on 2016-08-10T11:06:57Z (GMT). No. of bitstreams: 1 ROSANGELA MARIA SANTANA.pdf: 600316 bytes, checksum: 26ad48f3259465d1a74cb315a42185fe (MD5) Previous issue date: 2012-12-14 / This dissertation presents an analysis based on a bibliographical research on the imagination/imaginary in the novel Maya, by Ursulino Leão. The novel was written in 1949, when the writer, student of a law course, still very young, volatilized himself into the literary world. The book describes as illusory all feelings present in the novel, which brings an interesting story because of its content of truths, its drama and its human experience. The novel Maya stands out for its structure and narrative technique, the characterization of the characters, its values discussed and questioned and the richness and appropriateness of vocabulary. Imagination, fantasy, sentimentality, the exuberance of emotions and symbolism make the novel a story focused on a vision of the innermost essence of the human being. The study is theoretically based on Gaston Bachelard and Gilbert Durand, when analyzing the imaginary; on C. G. Jung, about the symbolic; and finally on G. Lukacs and M. Bakhtin, about a possible reading of the novel theory. / Esta dissertação apresenta uma análise fundamentada numa pesquisa bibliográfica sobre o imaginário na obra literária Maya, de Ursulino Leão. O romance foi escrito em 1949 quando o escritor, acadêmico do Curso de Direito, ainda muito jovem, se evolava para o mundo literário. A obra descreve como ilusórios todos os sentimentos revelados numa história interessante pelo seu conteúdo de verdades, seu drama e sua experiência humana. Maya se destaca pela sua estrutura e técnica narrativa e pela caracterização das personagens, por seus valores discutidos e questionados e pela riqueza e adequação do vocabulário. A imaginação, a fantasia, o sentimentalismo, a exuberância de emoções e a simbologia o fazem um romance concentrado numa visão da essência mais íntima do ser. O estudo se alicerça teoricamente em Gaston Bachelard e Gilbert Durand, ao analisar o imaginário; em C.G. Jung, a respeito do simbólico; e finalmente em G. Lukács e M. Bakhtin, acerca de uma leitura possível da teoria do romance.

Made available in DSpace on 2016-07-27T13:46:36Z (GMT). No. of bitstreams: 1 LUIS CESAR FLEURY DE OLIVEIRA - PARTE 1.pdf: 29750591 bytes, checksum: fc142436d388415af452ab9041d9ff3b (MD5) Previous issue date: 2013-06-25 / The very mention to the architecture of the sacred induces one to imagine the artistic conception of a temple-building. This attitude stems from the fact that the analysis of such architecture is usually focused on its styles, techniques and applied materials, as well as on the acclaiming of its authors that is, on aesthetic and economic values. There is no literature devoted to examining the constructive and ornamental elements of such architecture as transmitters of religious meaning, their true and important reason for existence. On the other hand, the proposal of this study is to unveil the constructive or ornamental symbolic elements existing in external or internal, natural or constructed architectonic spaces, which are able to interfere in the way individuals undergo religious experience. It aims at analysing how form in sacred art and architecture potentiates the function of propitiating the meeting with the Sacred. The apprehension of the object of study has been carried out through field research, photograph records, in loco observation and field notes. Brazil has been defined as the universe of research, and the focus of analysis comprised Brazilian Colonial and Imperial periods, particularly from the XVIth to the XIXth Centuries, and the architectural and art styles which have then taken place, that is, Plain, Baroque and Rococo. This work is organised in five chapters. The first one examines social life, symbology and sacred architecture. In the section entitled Social and Mystic-Religious Life , a brief incursion into Brazilian prehistory and into Portugal and Brazil during Portuguese colonisation is made. Then, a general analysis of symbols takes place, and the recurring ones are particularised. A brief summary of sacred architecture in general, as well as Plain, Baroque and Rococo architectural styles and their respective peculiarities in the States of Minas Gerais and Pernambuco concludes the chapter. In the second chapter, the architecture and symbology of three pernambucano Plain-style churches are analysed. The third, fourth and fifth chapters are respectively dedicated to first and second-stage Baroque and Rococo. In each of them, the architecture and symbology of one mineiro and one pernambucano church are examined. In conclusion, this study intended to evidence that knowing the symbols present in churches enables us to understand what makes the architecture of the sacred bear the sacred in architecture. / A simples menção à arquitetura do sagrado induz a imaginar a concepção artística de um edifício-igreja. Essa postura decorre do fato de a análise dessa arquitetura ter, normalmente, como foco seus estilos, técnicas e materiais empregados e a consagração dos autores, portanto valores estéticos e econômicos. Na literatura, não há trabalhos destinados ao exame dos elementos construtivos e ornamentais dessa arquitetura como transmissores de significados religiosos, sua verdadeira e importante razão de existir. Neste estudo, seguindo outra direção, propôs-se a descobrir os elementos simbólicos, construtivos ou ornamentais, presentes no espaço arquitetônico como ambiente, externo ou interno, natural ou construído e capazes de gerar no indivíduo interferências em seu viver da experiência religiosa. Com ele, pretende-se proceder à análise da forma na arte e arquitetura sagradas como potencializadora da função de propiciar o encontro com o Sagrado. A apreensão do objeto de estudo efetivou-se com a pesquisa de campo, o registro por meio de fotografias, observações no local e anotações de campo. Como universo de investigação, foi delimitado o Brasil e o foco de análise, de forma particular, os períodos Colônia e Império, do século XVI ao século XIX, e os estilos de arquitetura e arte ocorridos nesses momentos, ou seja: o Chão, o Barroco e o Rococó. Este trabalho é composto de cinco capítulos. O primeiro versa sobre a vida social, a simbologia e a arquitetura sagrada. Na seção intitulada Vida Social e Místico-Religiosa , faz-se uma pequena incursão à pré-história brasileira, a Portugal e ao Brasil no período da colonização portuguesa. A seguir, realiza-se uma análise geral de símbolos e particularizam-se os mais recorrentes. O capítulo é finalizado com um pequeno apanhado da arquitetura sagrada geral, assim como das arquiteturas Chã, Barroca e Rococó, e suas particularidades em Minas Gerais e Pernambuco. No segundo capítulo analisam-se a arquitetura e simbologia de três igrejas chãs pernambucanas. No terceiro, quarto e quinto capítulos são examinadas a arquitetura e a simbologia em uma igreja mineira e em uma pernambucana, respectivamente nos estilos Barroco da primeira fase, Barroco da segunda fase e Rococó. Como encerramento, buscou-se mostrar que com o conhecimento dos símbolos presentes nas igrejas, é possível compreender aquilo que faz a arquitetura do sagrado guardar em si o sagrado da arquitetura.

O objetivo deste trabalho é comprovar a criação de um gênero híbrido e inovador - a prosa poética - , ligada ao jornalismo e à literatura do final do século XIX. Esta pesquisa analisa a prosa poética de Raul Pompéia, a partir de textos selecionados como corpus, publicados no periódico, A Gazeta da Tarde, de 21 a 29 jan. 1986. Paralelamente comparamos os textos equivalentes em sua versão de livro, publicados pela primeira vez em 1900, comentando também o conjunto das Canções sem metro. / The main objective of this work is to compare the creation of a hybrid and new genre - the poetic prose -, by Raul Pompéia, related to journalism and literature at the end of the XIX century. This research analyses the poetic prose written by Raul Pompéia, by selecting texts as its corpus, published in the periodic \"A Gazeta da Tarde\", from January 21st to January 29th, 1986. At the same time we have compared the equivalent texts published on book for the first time in 1900, also discussing the other texts which form the whole group.