A la fin des années 1920, l’écrivaine américaine moderniste H.D. considère le cinéma comme un art majeur, supérieur à la littérature car plus à même de représenter le réel. En réponse à un questionnaire lui demandant de faire le bilan de sa carrière, elle choisit de se concentrer sur sa découverte du septième art et sur l’importance que prend ce nouveau mode d’expression pour elle. Spectatrice, mais aussi actrice, monteuse et critique, H.D. adopte une approche polyvalente. Des réalisateurs comme G. W. Pabst ou Sergueï Eisenstein deviennent des modèles que les écrivains devraient imiter, selon l’auteur. Pendant environ cinq ans, H.D. s’implique directement dans la production cinématographique, de par son travail avec un jeune artiste britannique, Kenneth Macpherson, réalisateur de Borderline, long-métrage d’avant-garde dont elle tient le rôle féminin principal. H.D. rédige également plusieurs critiques de films, qui paraissent dans Close Up, un magazine qu’elle co-dirige avec l’auteur et mécène britannique Bryher ainsi que Macpherson. Par la suite, ses activités cinématographiques diminuent mais nous avançons l’idée que le septième art et les théories qu’elle en retient influencent de façon durable son imaginaire et son mode d’écriture.Cette thèse propose donc d’analyser l’influence du cinéma dans l’œuvre de H.D., en prenant en compte sa carrière dans son ensemble, de la période imagiste aux écrits ésotériques de la fin de sa vie. A travers l’étude de poèmes, de romans semi-autobiographiques, d’essais et de critiques de cinéma rédigés par l’auteur, sont mises en exergue deux tendances “imaginales” divergentes, l’une participant d’une saturation du texte et l’autre d’un désir d’immédiateté et de rejet de la composition artistique / In the late 1920s, American modernist writer H.D. presented the cinema as a major artform, superior even to literature as it could represent reality better and more directly according to her. Answering a questionnaire sent to her to reflect on her career so far, she chose to focus on her keen interest for the moving picture and the importance that new artform was taking in her own artistic ventures. Moviegoer, actor, film editor, critic, H.D. approached the film from all sides. She wanted to give that artform the recognition it deserved. Filmmakers such as G. W. Pabst and Sergei Eisenstein were true great artists and writers should even look to them to renew literature. For about five years, H.D. directly engaged with the film, through production - in her work with young British artist Kenneth Macpherson, director of Borderline, an avant-garde feature-film in which she also held the female lead role -, as well as through film reviews. Macpherson, H.D. and British author and art patron Bryher edited the film magazine Close Up, in which H.D. published various articles and poems. Beyond that short period, the author’s involvement with the film became less direct but this work argues that the motion pictures and the theories she derives from that artform lastingly inspired her imagination and her writing.This thesis provides an analysis of the influence of the film on H.D.’s works., taking into account her literary career as a whole, from the Imagist period to her late esoteric writings. Through the study of poems, romans à clefs, memoirs, and film reviews, two diverging image dynamics are identified, one participating in textual saturation and the other seeking for more immediacy and less artistic elaboration

The aim of the study is to investigate the relationship between text and picture in two works by Sven Nordqvist, with the focus on how the action is propelled. The two works are compared in order to bring out any differences in the relationship and what significance this can have for the interpretation. The study also considers the theory of conceptual worlds to examine how the books can promote pupils’ literary understanding. The method of analysis is based on Rhedin’s (2001) theoretical concepts and elements of Nikolajeva’s (2000) terminology. The study demonstrates a difference in the works, in that the first one has an even balance in the amount of text and pictures. It is obvious that text and picture interact and together carry the narrative forward, while simultaneously leaving some freedom of interpretation to the reader. In the other work, the pictures dominate in terms of both space and content, and it is chiefly the pictures that carry the narrative forward. In the second work there is also an unclear relationship between text and picture, which gives the reader further scope for interpretation. The pictures in the two works and the scope for interpretation make them suitable for the development of reading comprehension, through the construction of conceptual worlds.

Ingeborg Bachmann’s recurrent references to the Spanish painter Francisco de Goya have frequently been noted, but have so far never been investigated. After outlining, in chapter one, Bachmann’s references to Goya in her thesis on Wittgenstein as well as in the Franza-Fragment and in her only novel Malina, this thesis sets out to highlight the text-image relation between Bachmann’s novel Malina and Goya’s series of murals which are known as the so called „Black Paintings“. Chapter two focuses on the importance of intertextuality and intermediality in Bachmann’s novel and the importance of quotation for the female narrator, who relies on intertextual and intermedial references to express her traumatic experiences. After an introduction into the aesthetics of Goya, in chapter three, chapters four and five examine the text-image relation between Goya’s painting El Perro Semihundido and the first chapter in Bachmann’s novel. The double perspective contained in El Perro, of the subjective expression of the dog’s longing for rescue and the objective futility of this hope as expressed by the dog’s positioning against the abstract background setting, is transferred onto the female narrator and her longing to be rescued through love. Chapter five especially focuses on the (problematic) semantic shifts which occur in the course of this transformation from an abstract representation in the painting to the depiction of concrete and personalized experiences in the text. Chapter six investigates the correlations between Bachmann’s dream chapter and the aesthetics of Goya’s murals, and asks to what extent Bachmann succeeds in transferring the main motifs in Goya’s images into literary form. Chapter seven explores the similarities and media-specific differences in the strategies deployed for depicting madness, violence and destruction in Bachmann’s text and in Goya’s murals and his series of prints on the Desasters of War. Bachmann’s novel Malina shows an extraordinary richness in intertextual and intermedial references. Analysing the explicit as well as implicit references to Goya’s late works in the novel this thesis addresses one area on Ingeborg Bachmann which has not been researched in detail so far.

A dissertação aborda a questão da ressignificação de manuscritos e textos de arquivo levando a catalogação e deciframento de conteúdos para o campo do texto enquanto imagem. Apresento o desenvolvimento das etapas a partir de trabalho sobre manuscritos que conduziram à atual ressignificação e elaboração de novas imagens. Destaco o relevante papel da rasura. Em suas diferentes apresentações, significado e função é presença constante em meus trabalhos. / The dissertation approaches the subject of providing (re) significations to manuscripts and texts from an archive leading to the cataloging and deciphering of contents from the standpoint of texts taken as image. I am tabling a document that shows the development of the various phases of this work on manuscripts. They give rise to those new significations and new pieces of work coming from these results. The use of the erasure should be underlined. In various forms of presentation, meaning and function the erasure is a constant presence along my body of work.

A dissertação aborda a questão da ressignificação de manuscritos e textos de arquivo levando a catalogação e deciframento de conteúdos para o campo do texto enquanto imagem. Apresento o desenvolvimento das etapas a partir de trabalho sobre manuscritos que conduziram à atual ressignificação e elaboração de novas imagens. Destaco o relevante papel da rasura. Em suas diferentes apresentações, significado e função é presença constante em meus trabalhos. / The dissertation approaches the subject of providing (re) significations to manuscripts and texts from an archive leading to the cataloging and deciphering of contents from the standpoint of texts taken as image. I am tabling a document that shows the development of the various phases of this work on manuscripts. They give rise to those new significations and new pieces of work coming from these results. The use of the erasure should be underlined. In various forms of presentation, meaning and function the erasure is a constant presence along my body of work.

This thesis focuses on the dialogue between two dissimilar forms of art: text and image, criss-crossing within one work of art. The point of interest is the exact moment of their encounter, which opens an interesting intermediary field for the litterateur as well, which I define and explore in the theory chapter. I aim to find possible tools for analysis,examine changes in perception, and the capacity of the semiotic base.

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-05-11T17:36:39Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_Adiano-BC.pdf: 7401702 bytes, checksum: 6b28f8e30c070212151e0a806655bd7c (MD5) / Made available in DSpace on 2017-05-11T17:36:39Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_Adiano-BC.pdf: 7401702 bytes, checksum: 6b28f8e30c070212151e0a806655bd7c (MD5) Previous issue date: 2016-02-19 / Este trabalho investiga a realização de metáforas multimodais a partir da interação entre textos escritos e imagens em anúncios publicitários impressos. Para tanto, partese da contribuição da Linguística Sociocognitiva, que encara a linguagem enquanto atividade de conceptualização e concebe a metáfora como elemento do pensamento, das linguagens e das ações (LAKOFF e JOHNSON, 1980 e 1999; LAKOFF, 1987 e 2008). O corpus da pesquisa foi recolhido a partir do acompanhamento, no período de julho de 2013 a junho de 2014, das cinco revistas mensais com maior tiragem nacional: Claudia, Nova Escola, Quatro Rodas, Seleções Reader´s Digest e Superinteressante. Esses títulos foram lidos com o objetivo de verificar a realização multimodal de metáforas. Adotamos as sugestões metodológicas propostas por Schmitt (2005), que têm como objetivo congregar fatores subjetivos e procedimentos metodológicos na análise de metáforas e tenta reconstruir modelos de pensamento, de linguagem e de ação. Ao final da coleta, o corpus foi composto por 30 (trinta) anúncios. As análises mostraram a realização de metáforas multimodais de quatro categorias diferentes: (i) alvo multimodal é fonte visual, (ii) alvo verbal é fonte multimodal, (iii) alvo verbal é fonte visual e (iv) alvo multimodal é fonte multimodal. Essas instanciações cumprem funções cognitivo-discursivas distintas no discurso publicitário. Além disso, os achados evidenciaram a realização de metáforas convencionais (VIDA É VIAGEM, por exemplo) e, também, de metáforas episódicas (processador [de celular] é corredor, por exemplo). Essas realizações não parecem ser aleatórias, mas cumprem, assim como as categorias descritas, propósitos definidos nos textos analisados. As categorias propostas possibilitam a reflexão acerca dos mapeamentos metafóricos e das modalidades que envolvem a sua realização e o seu uso no discurso publicitário. / The aim of this work is to investigate the instantiations of multimodal metaphors from the interaction between written texts and images on printed advertisements. For this purpose, we based the research on the Socio-cognitive Linguistics contribution, which postulates language as an activity of conceptualization and conceives metaphor as an element of thought, language and actions (Lakoff and Johnson, 1980 and 1999; Lakoff, 1987 and 2008). The corpus of the research was collected from monitoring, from July 2013 to June 2014, the five largest monthly magazines with national circulation: Claudia, Nova Escola, Quatro Rodas, Seleções Reader's Digest and Superinteressante. These magazines were read in order to check the realization of multimodal metaphors. We adopted methodological suggestions proposed by Schmitt (2005), which aim to gather subjective factors and methodological procedures in the analysis of metaphors and attempts to reconstruct models of thought, speech and action. At the end of the collection, the corpus was composed of thirty (30) printed advertisements. Analyses showed the realization of multimodal metaphors in four different categories: (i) multimodal target is visual source, (ii) verbal target is multimodal source, (iii) verbal target is visual source and (iv) multimodal target is multimodal source. These instantiations meet cognitive-discursive distinct functions in advertising discourse. In addition, the findings showed the performance of conventional metaphors (LIFE IS A JOURNEY, for example) and episodic metaphors (processor [of cellphones] is running, for example). These embodiments do not appear to be random, but they serve for defined purposes in the analyzed texts. The proposed categories enable reflection on the metaphorical mappings and arrangements involving their realization and their use in advertising discourse.

Submitted by MARCIA ROVADOSCHI (marciar@unifra.br) on 2018-08-22T18:03:39Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AugustoRussini.pdf: 3492507 bytes, checksum: 5caa38ff621b5676c6b05703a6665a6b (MD5) / Made available in DSpace on 2018-08-22T18:03:39Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AugustoRussini.pdf: 3492507 bytes, checksum: 5caa38ff621b5676c6b05703a6665a6b (MD5) Previous issue date: 2018-07-19 / At the present times, the school has become a multimodal space made possible in the development of methodologies, capacities and research that integrate the most diverse areas, among them, the technologies and the humanities. This dissertation has as its theme the teaching of Geography and History in postmodernity: the challenges and possibilities of multimodalities and technologies. Thus, the objective is to investigate the teaching of Geography and History in the Final Years of Elementary School in a school of the Municipal Education Network in Santa Maria, RS. The methodology was based on the qualitative method and hermeneutics to understand and interpret the intersubjectivities of the subjects involved. The research techniques were anchored in the participant observation and in the semistructured interview for the collection of data of the teaching practices of the studied disciplines. First, the current social context characterized by the constant technological advance and the instantaneousness of the information that configures postmodernity were presented and how those transformations interfere in the constitution of the contemporary subjects, identified as postmodern subjects. Subsequently, the unfolding of postmodernity in the school was related, more precisely in the teaching of Geography and History. In order to approach the student, postmodern subject, with the teaching of these curricular components it was proposed the construction of a multimodal didactic resource contemplating verbal texts, visual texts and digital technologies. To define the theme of this resource, the “Orientações Curriculares para os Anos Finais da Rede Municipal de Ensino de Santa Maria, RS (2014)” were consulted in the respective curricular components, as well as listening to teachers of Geography and History in a school of the Municipal Network of Teaching of Santa Maria, RS, through semi-structured interviews. In this itinerary it was identified the feudalism theme for the elaboration and construction of the multimodal didactic resource that received the denomination: "Uma História Feudal". When considering the objectives of the curricular components and proposing the combination of contents emerges an interdisciplinary attitude, together with the work of three professionals: a Geography teacher, a history teacher and a web designer who contributed to the materialization of the images and the correct interface between verbal and visual texts, and also in the operability of the multimodal didactic resource in the form of video. From the development of the research and the multimodal didactic resource "Uma História Feudal" it was possible to conclude that the feudalism theme makes possible the interdisciplinary teaching, the use of multimodalities and the insertion of digital technologies in the teaching-learning process. / Na contemporaneidade, a escola tornou-se um espaço multimodal viabilizado no desenvolvimento de metodologias, capacitações e pesquisas que integram as mais diversas áreas e, entre elas, as tecnologias e as humanidades. Esta dissertação tem como tema o ensino de Geografia e História na pós-modernidade: os desafios e as possibilidades das multimodalidades e das tecnologias. Assim, o objetivo é investigar o ensino de Geografia e de História nos Anos Finais do Ensino Fundamental em uma escola da Rede Municipal de Ensino, em Santa Maria, RS. A metodologia foi embasada no método qualitativo e na hermenêutica para compreender e interpretar as intersubjetividades dos sujeitos envolvidos. As técnicas de pesquisa foram ancoradas na observação participante e na entrevista semiestruturada para a coleta de dados das práticas docentes das disciplinas pesquisadas. Primeiramente, foi apresentado o contexto social atual caracterizado pelo constante avanço tecnológico e a instantaneidade das informações que configuram a pós-modernidade e como estas transformações interferem na constituição dos sujeitos contemporâneos, identificados como sujeitos pós-modernos. Posteriormente, relacionou-se os desdobramentos da pós-modernidade na escola, mais precisamente no ensino de Geografia e História. No intuito de aproximar o estudante, sujeito pós-moderno, com o ensino destes componentes curriculares foi proposta a construção de um recurso didático multimodal contemplando textos verbais, textos visuais e as tecnologias digitais. Para definir a temática deste recurso foram consultadas as Orientações Curriculares para os Anos Finais da Rede Municipal de Ensino de Santa Maria, RS (2014) nos respectivos componentes curriculares, bem como a escuta dos professores de Geografia e História em uma escola da Rede Municipal de Ensino de Santa Maria, por meio de entrevistas semiestruturadas. Neste itinerário foi identificado o tema feudalismo para a elaboração e construção do recurso didático multimodal que recebeu a denominação: “Uma história feudal”. Ao considerar os objetivos dos componentes curriculares e propor a combinação de conteúdos emerge uma atitude interdisciplinar, conjuntamente com o trabalho de três profissionais: um professor de Geografia, um professor de História e um web designer que contribuiu na materialização das imagens e na correta interface entre textos verbais e visuais, e também na operacionalidade do recurso didático multimodal em forma de vídeo. A partir do desenvolvimento da pesquisa e do recurso didático multimodal “Uma história feudal” pôde-se concluir que o tema feudalismo possibilita o ensino interdisciplinar, o uso das multimodalidades e a inserção das tecnologias digitais no processo de ensino-aprendizagem.

Cette étude se propose d’analyser les différents rapports que l’écriture radcliffienne, souvent qualifiée de « peinture de mots », entretient avec la peinture d’un point de vue thématique, structurel, symbolique et formel. Nous analyserons tout d’abord comment les romans s’inscrivent dans le contexte esthétique de l’époque et son paradigme pictural (valorisation de la peinture de paysage du XVIIe siècle, redécouverte du gothique architectural, « vision en tableau » du pittoresque). L’approche intermédiale de Liliane Louvel et sa définition du pictural au sein d’une problématique texte-image nous permettront de voir comment l’écriture file la métaphore picturale et développe ses propres stratégies pour « faire tableau » dans un désir paragonesque d’émuler la peinture. Tableaux et portraits en miniature occupent également une place importance dans l’économie du récit et leurs fonctions diégétiques et symboliques seront abordées au travers de leur spécificité intersémiotique en tant qu’objets d’art littéraires. Enfin, l’étude des descriptions paysagères au cœur de l’iconotexte montrera comment deux types de picturalité s’entrecroisent, l’une, iconique et figurative, qui cherche à « faire tableau », et l’autre, picturale et sémiotique, qui travaille le texte sur le mode plus diffus du signifiant plastique, de la dislocation du « tableau » et de la dissémination de son image au travers des substituts picturaux, de la peinture synesthésique et « iconorythmique », faisant miroiter des « éclats de picturalité » en texte. Nous montrerons ainsi comment le pictural est le mode spécifique de la gothicité radcliffienne, articulant les problématiques du « female Gothic ». / This study will analyse the different links that Ann Radcliffe’s “word-painting”—as her writing has often been called—bears with painting, from a thematic, structural, symbolic and formal point of view. We shall first see how the novels fit into the aesthetical context of the time and its pictorial paradigm—seventeenth century landscape painting as an iconographical model, the rediscovery of Gothic architecture as a pictorial motif, the picture-like vision of the picturesque. Liliane Louvel’s intermedial approach and her definition of the “pictorial” within a text-image problematics will help us see how Radcliffe spins out her pictorial metaphor and implements her own strategies to make the reader “see pictures” in a paragon-esque desire to emulate painting. Full-sized pictures and miniature portraits also play an important role in the unfolding of the narrative. Their diegetic and symbolic functions will be studied in reference to their intersemiotic specificities as literary works of art. Finally, the study of landscape description at the core of the radcliffian iconotext will help us see how two different types of pictoriality interact, one based on figurative representation which aims at making the reader “see pictures”, and another more diffuse form which works on a semiotic level through deconstruction and iconic dissemination, expressing the pictorial signifier in words. It makes “fragments of pictoriality” shine throughout the text by means of pictorial substitutes and a synesthetic experience of “iconorythmic” pictures. We shall thus prove how the pictorial is the specific mode of Radcliffe’s Gothic writing and articulates the problematics of the female Gothic.

Le corpus, qui regroupe seize manuscrits italiens et français (avec la traduction de Laurent de Premierfait), permet d’élaborer une étude sur les rapports entre une œuvre littéraire, foisonnante et complexe comme le Décaméron, et les nombreuses illustrations que ces ouvrages contiennent. Pour être efficace et effective, l’image a besoin de se fonder sur le texte de Boccace. Cependant, les illustrateurs doivent aussi contenter leurs commanditaires et se conformer à leurs volontés, quitte à s’éloigner de l’œuvre originelle.La présente recherche se centre ainsi sur le passage du texte à l’image — en s’intéressant particulièrement à la littérarité de l’illustration, souvent fondée sur les potentialités visuelles du texte. Les manuscrits enluminés sont systématiquement replacés dans leur contexte culturel, social et historique, compte tenu du rôle joué par le lecteur/commanditaire, essentiel pour la compréhension de chaque miniature.Cette étude s’efforce ainsi d’analyser les ressources dont disposent les enlumineurs. Elle met en lumière l’incroyable adaptabilité dont font preuve ces artistes à part entière pour illustrer le texte qui constitue leur principale source. / The corpus consisting of 16 manuscripts (with the translation by Laurent de Premierfait) allows us to elaborate a study on the relationship between a piece of literature as abundant and complex as the Decameron, and the numerous illustrations that these works contain. To be efficient and effective, an image needs to be based on Boccaccio’s text. However illustrations must also satisfy their commissioner and comply with their wishes, even away from the original work.This research focuses as well on how to move from text to image — with particular attention on the literariness of illustration, often based on visual potential of the text. The illuminated manuscripts are systematically placed in their cultural, social and historical background, taking into account the essential role played by the reader and commissioner to understand each miniature.This study thus attempts to analyse the illuminators’ ressources. It highlights the incredible adaptability shown by these artists in their own right to illustrate the texte as their main source.