This thesis demonstrates a reading of an article in the Revista Agrícola (SSA), a publication of the Sergipe Agricultural Society viewed from the standpoint of Mikhail Bakhtin’s language philosophy. The magazine is seen in terms of the period of tumultuous political transition from empire to republic, the changes in labor organization, and their effects on the restructuring of the cities and countryside. The magazine is considered as being a mechanism which aided in organizing the discourse concerning the Sergipe countryside, beginning in 1860 with the Sergipe Imperial Institute of Agriculture, consolidated with its publication during the four years from 1905 to 1908. This thesis analyses the reason for the existence of this publication as part of the typographic capitalism, its simultaneity of ideas, the production of a language concerning farming, commerce and industry, according to current ideologies on a global scale. The discourse did not exist in a cultural vacuum, exhibit evidence of polyphony, various voices, in agreement and discord, in such a way as not to be a homogenous discourse, but promoted a united discourse on how and in which ways the countryside should be reorganized in order to face the new demands of capitalism. This form of production was diluted by linguistic signs and symbols within a historical and geographical discourse, with descriptions, criticisms and praise. It was not the soil itself that offered the greatest difficulties; it was the question of farming itself, the question of activities in the countryside. The countryside itself was to a point illusory: fertile, yet inefficiently used, in which the rural workers were camouflaged beneath ideological symbols, such as being lazy, and work-shy. Those who responsible the discourse, despite their best attempts to be independent, presented and defended their ideals. The discourse since the magazine was more fragmented, disguised and more connected to the needs of international markets. Some of the words were repeated, but with new meanings; old agrarian issues dressed up as new issues. / A presente Tese desvela uma leitura do discurso da/na Revista Agrícola (SSA), órgão da Sociedade Sergipana de Agricultura a partir da filosofia da linguagem de Mikhail Bakhtin. Lê a Revista a partir do convulsivo locus de transição política do período imperial para o republicano, das mudanças na organização do trabalho, e seus efeitos na reestruturação do campo e da cidade. A Revista é concebida como um mecanismo que corroborou no ordenamento discursivo para o campo sergipano, iniciado em 1860, com o Imperial Instituto Sergipano de Agricultura (IISA), consolidado com a sua edição durante quatro anos de 1905 a 1908. Nesta Tese desvela-se o porquê da existência desse periódico como parte do capitalismo tipográfico, sua simultaneidade de ideias, a produção de uma linguagem sobre a lavoura, o comércio e a indústria, de acordo com ideologias vigentes em uma escala global. Os discursos não operavam em um vazio cultural estavam interpenetrados por uma polifonia, várias vozes, consonantes e dissonantes, de maneira que não foi um discurso homogêneo, mas promoveu uma unidade discursiva acerca da forma e dos rumos que o campo deveria ser reestruturado, frentes às novas demandas do capitalismo. Este modo de produção estava diluído entre signos e sinais da linguagem em meio a um discurso geográfico, histórico, com descrições, críticas, enaltecimento, mas, o seu substrato, a terra, não oferecia tantos problemas, a grande questão era a lavoura, a ação sobre o campo. O campo era um simulacro, fértil, porém pouco aproveitado, no qual os trabalhadores rurais estavam escamoteados sob signos ideológicos, como indolentes, pouco aptos ao trabalho, e os produtores dos discursos, apesar das fissuras apontadas nas suas tentativas consideradas valorosas, independente de serem atendidas, apresentaram e defenderam suas ideias. Os discursos posteriores à Revista foram propostas cada vez mais fragmentadas, escamoteadas, e vinculadas às necessidades dos mercados internacionais. Algumas palavras repetem-se, mas como nova significação, novas questões agrárias travestem antigas questões. / São Cristóvão, SE

Det visuella uttrycket har länge varit viktigt inom grafisk formgivning eftersom det förmedlar så mycket mer än ögat ser. Ett varumärke representerar inte bara namnet på företaget utan också dess syfte och idé. Därför ska den visuella profilen utstrålar organisationens visioner på ett tydligt sätt och ge betraktaren en skön helhets upplevelse. Många gånger hjälper det att fräscha upp ett varumärkes visuella profil för att på så sätt kunna lansera företaget på nytt och i viss mån även öka dess konsumtion. Detta examensarbete redovisar för produktionen och designprocessen kring re-design av Sveriges Kommunikationsbyråers (Komm!) specialpris Titanpriset. Komm! tyckte Titanpriset behövde få en egen identitet och gav mig i uppgift att skapa detta. Den nuvarande logotypen var inte harmonisk eller speciellt bra utförd och därför krävde företaget en re-design av Titanpriset. Kriterierna för reproduktionen av Titanpriset var att de ville ha en stilren, tydlig och kreativ ny designlösning.  För att komma fram till det resultat som presenteras i slutet av uppsatsen har en intervjustudie samt innehållsanalys genomförts. Dessa metoder användes i syfte att få en djupare förståelse över vad som utgör visuella profiler och dess logotyper. Även forskning i form av tidigare examensarbeten och vetenskapliga artiklar har läst för att införskaffa mer kunskap om ämnet. / The expression of visual design have sins long been important in graphic design because it conveys so much more than the eye see. A brand does not only represent the name of the company but also its purpose and idea. Therefore is it so important that the visual profile radiates the organization's vision in a clear way and gives the viewer a pleasant overall experience. Many times can it help to freshen up a brand's visual identity in order to successfully launch the company again and to some extent also increase its consumption. This essay presents the production and the designprocess of Sveriges Kommunikationsbyråers ( Komm! ) Titan award. Komm! thought the Titan award needed to have its own identity and gave me the task to create this. The current logo was not harmonious or particularly well executed and therefore did the company demand a re-production of the Titan award. The criteria for the reproduction of the Titan award was that they wanted a clean, clear and creative new design solution. An interview and content analysis have been performed to get the results presented at the end of the studie. These methods have been used to gain a deeper understanding of what constitutes visual profiles and logos. Also research of previous work and scientific papers have been read to acquire more knowledge about the topic.

L'ironie atteint au plus complexe par le plus simple, à la raison par l'irrationnel, à la puissance par la douceur, au sérieux par la raillerie. C'est l'éclosion de l'art de subversion ironique. Dans la tradition rhétorique, nulle mention n'est faite d'une forme d'utilisation littéraire de l'ironie qui permettrait au sein d'une oeuvre romanesque, dramatique ou poétique l'intrusion de la figure de l'auteur. Dans la période d'après-guerre, on voit un nouveau Giono qui renouvelle l'édifice de son oeuvre sur une sorte de vertige : l'ironie, les sous-entendus, l'implicite, les vides narratifs aussi bien dans le style que dans la conception du monde. Les oeuvres qui paraissaient au moment où naît cette ère du soupçon qui a divisé l'oeuvre et a changé l'esthétique de l'écrivain, sont les plus marquées par l'ironie. Giono assigne l'ironie à un foyer de production fictionnelle qui ne saurait bénéficier de quelques immunités philosophiques, esthétiques, techniques. L'ironie c'est aussi l'effet des procédés typographiques. Dans cet univers, toute authenticité risque d'être pervertie dans un roman. Mais l'ironie de Giono est avant tout une vision tragique du monde. Elle est également une interprétation de la condition humaine. Le romancier est donc celui qui nage dans les eaux troubles de la contradiction. Il examine le monde en dévoilant les ambiguïtés. / The irony achieves to the most complex by the simplest, to the reason by the irrational, to the power by the sweetness, to the seriously by the mockery. It is the hatching of the art of the ironic subversion. In the Rhetoric tradition, no mention was made of a shape of a literary use of irony which would allow within a novelistic, dramatic or poetic work, the intrusion of the figure of the author. In the post-war period, we see a new Giono who renews the building of his work on a kind of dizziness: the irony, the allusions, the implicit and the narrative emptiness, in the style and in the conception of the world as well. The works which appeared as is born this era of suspicions which divided the work and changed the esthetics of the writer, are the most marked by the irony. Giono assigns the irony to a home of fictional production which could not benefit philosophical, esthetical, and technical immunity. Irony is also the effect of the typographic processes. In this universe, any authenticity risks to be perverted in a novel. But the irony of Giono is primarily a tragic vision of the world, a form of belonging to this world and a way of participation in its mockeries and its delights. It is also an interpretation of the human condition. The novelist is thus the one who swims in shady waters of the contradiction. He examines the world by revealing the ambiguities.

El propósito de este estudio fue elaborar una propuesta didáctica para promover el aprendizaje de tipografía-lettering en estudiantes de una escuela de nivel superior, mediante el uso del software adobe illustrator. La metodología utilizada es de enfoque cuantitativo, se aplicó un cuestionario como instrumento de recojo de datos, para identificar el estado actual y niveles de aprendizaje de los estudiantes en tipografía-lettering. Se trabajó con toda la población conformada por 104 estudiantes. Los resultados indicaron que éstos, reconocen la importancia del uso del software para la construcción gráfica y la eficiencia del proceso de arquitectura tipográfica. La propuesta didáctica se compone de cuatro etapas: Evolución, composición-connotación, caligrafía-lettering y refuerzos tipográficos y se fundamenta en la teoría andragógica, el enfoque comunicativo de Munari y el de Martina y Monzó. Se sugirió la integración de la metodología práctica propuesta en el plan de estudios, el desarrollo de talleres o cursos que incorporen el uso de adobe illustrator y la formación docente en el manejo de esta herramienta para el diseño tipográfico. Además, se recomienda la práctica de diferentes estilos y fuentes de tipografía, así como la integración del diseño tipográfico en la estrategia de marketing. En conclusión, la propuesta didáctica de adobe illustrator para promover el aprendizaje de tipografía-lettering en estudiantes de una escuela de nivel superior es una herramienta útil y eficiente para el diseño gráfico y la comunicación visual. / The purpose of this study was to develop a didactic proposal to promote the learning of typography-lettering in students of a higher level school, through the use of adobe illustrator software. The methodology used is a quantitative approach, a questionnaire was applied as a data collection instrument to identify the current state and learning levels of students in typography-lettering. We worked with the entire population made up of 104 students. The results indicated that they recognize the importance of using software for graphic construction and the efficiency of the typographic architecture process. The didactic proposal is made up of four stages: Evolution, composition-connotation, calligraphy-lettering and typographic reinforcements and is based on andragogical theory, the communicative approach of Munari and that of Martina and Monzó. The integration of the proposed practical methodology into the curriculum, the development of workshops or courses that incorporate the use of adobe Illustrator and teacher training in the use of this tool for typographic design were suggested. In addition, the practice of different typography styles and fonts is recommended, as well as the integration of typographic design into the marketing strategy. In conclusion, the teaching proposal of adobe Illustrator to promote the learning of typography-lettering in students of a higher-level school is a useful and efficient tool for graphic design and visual communication.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Analisa a tipografia e os modos culturais como os tempos a tÃm percebido, nÃo apenas como sistema produtor de textos em sÃrie, mas os propÃsitos atribuÃdos à estÃtica dos caracteres e das composiÃÃes. RealÃa a natureza dinÃmica da construÃÃo de significados que interagem com o homem para alÃm das operaÃÃes mecÃnicas e das representaÃÃes verbais. Reflete tambÃm as marcas ordenadoras nos simbolismos tipogrÃficos, expressas em seus regimes culturais de informaÃÃo. Tratar dessa complexidade informacional à o objetivo central desta pesquisa realizada no mestrado em CiÃncia da InformaÃÃo da Universidade Federal do CearÃ. Ela se ampara na epistemologia social do campo para compreender a tipografia de modo nÃo restrito Ãs dimensÃes fÃsica e cognitiva, mas como fenÃmeno complexo e relacionÃvel Ãs ordenaÃÃes e significaÃÃes socialmente construÃdas. Para tanto, utiliza-se de pressupostos antropolÃgicos e hermenÃuticos aos quais a Ãrea tem se valido para atualizar seu objeto de estudo, que sÃo as noÃÃes de mediaÃÃo cultural, de neodocumentaÃÃo e de regime de informaÃÃo. Como experiÃncia empÃrica, optou-se por analisar o projeto grÃfico dos cadernos especiais produzidos pelo jornal cearense O Povo e vencedores do PrÃmio Esso de Jornalismo na categoria de criaÃÃo grÃfica para jornal: Planeta seca (2012) e SertÃo a ferro e fogo (2014). Trata-se de produÃÃes temÃticas e de cunho jornalÃstico investigativo ligado ao imaginÃrio do sertÃo nordestino. Esses documentos e seus simbolismos tipogrÃficos foram interpretados pelo viÃs de seu processo de produÃÃo e dos profissionais que assinam seu conteÃdo, utilizando-se do mÃtodo hermenÃutico-dialÃtico e das tÃcnicas de entrevista e de observaÃÃo participantes. O estudo de natureza exploratÃria, qualitativa e documental possibilitou compreender os objetos como fenÃmenos infocomunicacionais resultantes das prÃticas sociais operadas no ambiente do jornal. Com isso, tornam-se cÃdigos dinÃmicos de interaÃÃo, em que os mediadores exercem papel ativo na construÃÃo de leituras nÃo usuais, narrativas hÃbridas que relacionam contextos e identidades diversas. AlÃm disso, seu processo de produÃÃo marca e condiciona a equipe e a empresa de comunicaÃÃo, que passam a ser reconhecidos publicamente por esse tipo de relaÃÃo com a informaÃÃo. Conclui-se que esses cadernos especiais e suas tipografias integram categorias culturais e informacionais complexas, maneira pela qual se tornam fenÃmenos ilustrativos para o paradigma social da CiÃncia da InformaÃÃo. Essa constataÃÃo favorece a linha das pesquisas contemporÃneas do referido campo e sua tradiÃÃo interdisciplinar.

This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.

My project investigates the intersection of typography and furniture. It questions the language of these objects and compares the two, based on an assumption of similarity. Each supports the assertion of the language system of the other.

Throughout history and in today’s society, typography has been and still is without doubt a great part of communication. Behrens, an important designer from the modernist movement, believed that after architecture, typography provided “…the most characteristic picture of a period” and “…development of people”. Typography carries meaning and associations, built on the contexts and the design it is used in, that finally creates a typographic image. The Blackletter style Fraktur, and Helvetica were born to serve a purpose connected to power. Important for this research is to understand in detail, the origin of that power and its position: Blackletter portrays features of the Gothic architecture, expressing religious emotions and civic pride, intended for effective writing, and was predominant in religious and educational contexts. This improvement of writing was a necessity for the development of the society during the medieval times; for both educational and financial reasons. As Fraktur became a symbol of Germany, the today’s connotations towards oppression and Nazism were inevi­table as the Third Reich continued to use it until it was banned in 1941. Meanwhile, the post war modernism in the 20th Century, sought objectivity, simplicity and readability in their design, to erase any carried meaning or associations that could have a misleading effect on the information. This period of time paved way for a corporate culture, with approaches towards rationalist and function­alist methods, that expresses authority and reliability. Achieving brand recognition for a wide range of products and contexts was required by the graphic designers. Through workshops that document people’s associations and comments on the shapes and typographic images that both Helvetica and Fraktur create, and visual research made in forms of sketching and adding Fraktur features to signs of institutions and public sectors, I have investigated Fraktur’s tainted image of oppression and political sentiments with the help of Helvetica as the contemporary norm.

The objective of this thesis is to do a comparative analysis of four Romany life-stories in prose from different parts of the world and identify features which may justly be called characteristic of Romany writing. The comparison of Victor Vishnevsky's Memories of a Gypsy, Mikey Walsh's Gypsy Boy and Gypsy Boy on the Run, Andrej Giňa's Paťiv. Ještě víme, co je úcta and Irena Eliášová's Naše osada yields valuable insights into how Romany writers construct their identity and to what extent their current work relates to the existing literary genres. Because of Romany studies' multidisciplinary nature, the extensive introduction lays the theoretical foundations for the analysis. I proceed from the characteristics of Romany studies in general in part 1.2 to the way it was practised during my undergraduate years in Prague as opposed to the Western tradition (part 1.3). Using a case study of the schism Romany studies are currently facing in the Czech Republic, in part 1.4 I attempt to illustrate the more general epistemological challenges the field has been grappling with between essentialist/primordialist and radical constructivist views. As there is a definite scarcity of theoretical literature conceptualising Romany writing, in part 1.5 of the introduction the existing body of work is assessed and found...