This essay proposes to explore the visual expressions of political power during the crisis of independence, in the transition from the colonial monarchical system toward the constitution of the new South American republics. We shall take as our point of departure the depersonalization of power which accompanied the fall of the king and explore the different materializations of the modernnation-state and the uncertain place which heroes’ portrait occupied in the new republican symbolic cosmos. / Este ensayo explora las formas visuales del poder político en la crisis de la independencia, en el tránsito que marca el paso del sistema monárquico colonial a la constitución de las nuevas repúblicas sudamericanas. Tomando como punto de partida la despersonificación del poder que se impone a partir de la caída del rey, se exploran aquí las diversas materializaciones del moderno Estado-nación y el incierto lugar que el retrato de los héroes tendrá en el nuevo marco simbólico republicano.

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.

This research examines the ways in which the Vancouver Olympics emblem, an Inuit inuksuk, and other Aboriginal symbols have been ‘adopted’ by the organizers of the 2010 Winter Olympics, how visual and textual Aboriginal representations have been incorporated into the public education mandate of the Games, and how this relates to the Aboriginal Participation Goals of the Vancouver Organizing Committee (VANOC). I use Freirian critical cultural pedagogy and Foucauldian theories along with a visual research method, semiotic analysis, as a way to examine the material presented on the official Vancouver 2010 Olympic website and related websites. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

Research shows that adolescents are major users of various social media, and adolescent girls who use social media are more likely than adolescent boys to come into contact with so-called Influencer marketing, i.e. a form of marketing in which focus is placed on influential people rather than the target market as a whole. Influencers tend to effect their audience’s consumption habits, and their main audience often tend to be adolescent girls. This caught our attention since influencers are a quite new phenomenon and not much research on has been done on it. The main object of the study is to examine if there any correlations in what extent influencers affect adolescent girls consumption of ”status symbols” given their social class. The second object of the study builds on identifying and explaining differences in adolescent girls and their definitions of status symbols and how this affects their consumption of status symbols given their social class. To do this, we constructed a survey which we posted on the social media Facebook. The survey was only open to persons belonging to so-called ”girl groups”, consisting of girls only. Our respondents consist of adolescent girls at attending at swedish high schools. Our study draws on Pierre Bourdieu’s theory of; habitus, capital and field. We conclude that adolescent girls of a lower social class are more likely to consume status symbols recommended by influencers on social medias. Other conclusions are that adolescent girls regardless of their social class consume the same type of status symbols But also that there are no differences’ in adolescent girls and their definitions of which status symbols they consider to be highly valued.

This thesis explores the prestige associated in late medieval Scotland with Flemish luxury products, using a material culture-based approach founded on the premise that objects can reveal the beliefs and attitudes of those who used them. Adding to existing scholarship which concentrates on the economic, political, and diplomatic connections between Scotland and Flanders, this research offers a new artefactual dimension to this relationship. It challenges the perception of Scotland as culturally and materially unsophisticated while simultaneously considering how objects were used in the expression of elite power and status. What drives this work is that late medieval Scottish elites were fully immersed in the most highly regarded and fashionable material trends of western Europe and that their consumption patterns fit into a wider mentality which saw Flemish craftsmanship as an ideal. A new model is thus presented, moving away from the traditional concentration on fluctuating wool exports and taking into account the cultural agency of noble, ecclesiastic, and burghal elites. It entails the initial examination of Scottish consumer demand and its impact on the Flemish luxury market. Following this are chapters on gift exchange and the presentation of magnificence, centred around the perception of the Flemish aesthetic as representative of elite status. Finally, this approach is applied to the burghal and clerical spheres, arguing that Flemish church furniture played a role in the formation and maintenance of elite urban identities. The comprehensive examination of artefactual sources, combined with the commercial, ritual, and ceremonial evidence found in written sources, enables the building up of a clearer impression of Scoto-Flemish material culture than has previously been realised. It is demonstrated that the material environment of late medieval Scottish elites was comparable to those of other European polities, constituting a common cultural sphere furnished by the luxury products of Flanders and the southern Low Countries.

This thesis deals with the development of graphical symbols on the control panels of machine tools made by Czech factories TOS from the years 1947–1990. The aim is description genesis graphics controllers and communicators of machine tools and their inclusion in the context of the development of graphic design. As well as determine the influence of design in area of operational graphics. This area has not yet been subjected to closer examination and in terms of consistency of the historical aspects of the Czech graphic is benefit to the future.

This thesis comprises an exploratory study of the dynamic of communication symbols during growth and transcendence cycles of the unique individual. It moreover explores how the quintessence of the individual, the quantum self, transforms itself through the use of intrapsychic communication. The exploration focuses on the confluence of a subjective, inner experiential reality and reality as a social construct. This inner, subjective and experiential reality of the individual relates to the correspondence between the transcendence of consciousness and the creation of meaning derived from the Jungian constructs of archetypal images, symbols and myths. The eclectic nature of the study necessitates a multidisciplinary approach, and consequently, theories and constructs in Depth and Transpersonal Psychology, the New Physics (Quantum Physics), Complexity and Chaos Theories, Mysticism, and Philosophy are explored and integrated with contemporary communication notions of the self, symbols and consciousness. Integration and inclusiveness consequently form the bedrock of this study. Archetypal communication symbols are considered as the derivatives of a subjective, inner reality. The exploration and comprehension of an inner reality are considered to be of prime significance to the transcendence of the self: the individual as a unique multifarious being. An archetypal and mythical semiotic textual analysis of ‘The Alchemist’ by Paolo Coehlo, and an individual case analysis of dream symbols and a self-report based on the interpretation of a dream theme by using active imagination indicate that a transcendental spirituality, and consequently an inner, subjective transcendental reality are imminent in the individual. An intrinsic need for equanimity and unity is reflected in the images, symbols and myths of the Self as archetype of meaning nested in the collective unconscious. Ensuing from the exploration in this study, an experiential and ‘lived’ theory and model of the dynamic process of intrapsychic communication are described and depicted. Moreover, the employment of archetypal images, symbols and myths of the Self during intrapsychic communication are described and contrasted with a complex adaptive system. The relationship between the self, consciousness, and intrapsychic communication is hence depicted and described in terms of an experiential theory of intrapsychic communication as a complex adaptive system iterating between balance and harmony, and chaos. Intrapsychic communication, which represents all the levels of communication within the Self with its corresponding levels of consciousness, facilitates both awareness and integration of the inner subjective reality, and the external socio-cultural reality of the ego which is at the core of the Self. It is asserted that the transcendence of consciousness cannot be experienced as a distinct experience. Rather, intrapsychic communication facilitates a sense and experience of the Self by an individual through the use of archetypal images, symbols and myths as represented in dream experiences of an individual and the text of a modern narrative. The inclusion of the archetypal spiritual dimension of the Self and the indication of an intrinsic need for wholeness, unity and transcendence in intrapsychic communication, alludes to a shared innate and universal heritage which cuts across all cultural and racial boundaries. Since the study is of an exploratory nature suggestions for further study and research are also made. / Dr. H.L. Venter

This thesis examines the realisation of archetypes, symbols and mythic processes reflected in the musical discourse of selected 20ftt Century stage musicals with a hero theme, namely The Fantasticks, Camelot, Jesus Christ Superstar and Man of La Mancha. Of these, Camelot and Jesus Christ Superstar are mythically by far the more complex, so these will receive correspondingly far greater attention to background, immediately prior to their musical analyses. Insofar as the mythic language of symbols is heavily invested with description, the text reflects this investment. The purpose of this research has been to examine the way in which composers of the 1960s and '70s have revealed symbolic entities inherent in the dramatic plots of these musicals without necessarily being academically aware of deliberately revealing these entities. This being the case, the symbolic grammar and structural psychic elements evident in the musicals could be said to elicit a symbolically related compositional response conveyed in musical structures. Furthermore, the implications of the mythic choice of the hero theme itself and how this is conveyed both in the drama and in compositional choices are examined and discussed in an attempt to comprehend the Zeitgeist of the era, and how its representation In a popular musico-dramatic genre contributes to our insights into human and societal health. / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted

There has been limited research done to determine the impact of the use of colour on communication displays in the facilitation of graphic symbol location within an overlay. As many Augmentative and Alternative Communication systems are pictorial in nature, it is of importance that interventionists are aware of the potential impact that colour can have on the accuracy and rate of symbol location. The present study is based on a study by Wilkinson, Carlin and Jagaroo (2006) and used the same testing material (colour conditions) whilst modifying the type of exposure to these colour conditions. This study investigated the effect of sequential exposure of colour conditions on the rate and accuracy of graphic symbol location. The study used a comparative, non-experimental group design using sixty participants who conformed to specific selection criteria. Each participant was exposed to three colour conditions that were placed in a specific sequential order. The participants were required to match a target, graphic symbol within an array of symbols in the differing colour conditions. Two different types of graphic symbols were used meaningful (Type A) and arbitrary (Type B). Two different colour sets were also used with the colour conditions varying in each set. Set 1 were the sequentially ordered colour conditions of same colour, mixed colour and unique colour symbols (difficult to easy) while Set 2 were the sequentially ordered colour conditions of unique colour, mixed colour and same colour symbols (easy to difficult). The major findings of the study were as follows. In terms of rate, there was a significant interaction noted between the two symbol types and their sequential ordering. The time taken (rate) for the location of the nonreferential forms was slower than that taken for the meaningful symbols. The reasoning behind this result could be that the non-referential forms were not as familiar to the participants as the meaningful symbols were. Thus, the rate recording of the meaningful symbols and the non-referential forms described in the three colour conditions was different and could be noted in the results. In terms of accuracy, a significant impact was noted between the two symbol types when the first manner of sequential ordering was used, however, there were no significant differences noted when the second manner of sequential ordering was used. This implies greater accuracy was recorded when the second manner of sequential ordering was used as this ordering appeared to be “visually easier” for the location of symbols. / Dissertation (MA)--University of Pretoria, 2009. / Centre for Augmentative and Alternative Communication / unrestricted

Police officers have one of the most stressful jobs in existence. However, information pertaining to stress management programs is limited, especially within a Canadian context. Furthermore, little is known about the processes through which officers construct their perceptions of stress and stress management since the literature has mainly focused on enumerating the frequency of existing stressors. The present study addresses these limitations by conducting a content analysis of 24 in-depth interviews with officers from a law enforcement agency in Ontario. By drawing on symbolic interactionism, the present study concludes that police officers gravitate toward the “me” or the socialized aspect of the self (Goffman, 1969) when constructing their perceptions of stress and stress management in order to protect their image and avoid stigmatization. Policy implications based on these findings are presented at the end of the study, along with directions for future research.