Located in social semiotics (Hodge & Kress, 1988), theories of identity (Goffman, 1959; Holland, Lachicotte, Skinner, & Cain, 1998), and third space (Gutierrez, Baquedano, & Turner, 1997; Rowe & Leander, 2005), this dissertation presents the findings from a year long, field-based qualitative study with a high school class of nine Spanish for Native Speakers (SNS) students and their teacher. The study used an arts-infused multimodal curriculum exploring Spanish language texts and cultures from around the world. The following questions guided this study: (a) What factors were considered as the teacher and the researcher co-planned this arts-infused multimodal curriculum, and how did the consideration of those factors shape the curriculum?, (b) How did students enrolled in this SNS class negotiate meaning and identity as they worked within this class?, and (c) What discourses around students’ meaning making practices and identities emerged within their visual texts over time and across texts? Data sources included interviews, observations, student-generated visual texts, photographs from class sessions, student journals, and audio and videotapes of portions of class discussions and activities. Visual texts were coded for elements of visual design and apparent discourses with which the text-maker identifies (Albers, 2007b; Kress & van Leeuwen, 2006). Five themes emerged from the data: 1) The teacher participant and researcher co-created the curriculum using critical-care pedagogy; 2) Actual participation in and creation of visual and multimodal texts shaped the classroom community; (3) Negotiation and meaning making occurred through the flexible use of sign systems; 4) Participants worked through understandings of self; and 5) Personally relevant discourses emerged within individual and group texts. The study suggested that heritage language courses like this one can teach more than language. Such courses deserve attention as havens where students’ complex meaning making of themselves, their worlds, and their places in them are freely explored.

As companies discover the monetary benefits of a positive environmental image, a proliferation of green imaging confounds the public sphere. The consequence becomes the disarticulation of terms like environmental excellence, sustainable development, and minimum environmental harm. Because the oversaturation of greening efforts has elicited public distrust, stakeholders need timely and accurate information regarding environmental claims. As a major vehicle for communicating these efforts, corporate environmental reports (CERs) are laden with colorful and sublime images. This study examines the functionality of images found in CERs from 27 industry leaders, applying Sonja Foss’s tenets of visual rhetorical analysis to identify the nature and function of the images and offer an evaluation based on emergent themes. Because images are increasingly important to corporate transparency, the study concludes with several best practice recommendations to serve as ethical image design strategies and to reflect the ways companies address impactful operations.

The purpose of this qualitative study was to explore what 4th-grade teachers could learn about African American students’ knowledge of social studies content through children’s drawings and to understand what they communicated through visual texts. This study was grounded in social semiotics and critical race theory (CRT). Social semiotics allowed for close readings of children’s drawings and interpretation of teachers’ interests in using art as an assessment tool. CRT challenges applying the experiences of White people as the standard by which others are measured. CRT was used to analyze structural barriers, such as high-stakes standardized testing, as primary in determining what students knew. Research questions were as follows: (a) When teachers are instructed in how to read images structurally and semantically, what do they learn about their low achieving African American students’ understanding of a social studies text through their drawings? (b) How do teachers understand and talk about images through the lens of sign systems? (c) How do low-achieving African American students demonstrate social studies content knowledge in a written assessment compared to how they demonstrate content knowledge in a visual representation of a social studies text? The setting was in an urban elementary school and the study involved 4 teachers and 7 students from their collective classes. Analysis of data included constant comparative analysis and visual discourse analysis (VDA), including student drawings and teacher/student interviews. Three findings emerged from teacher data analysis. Teachers varied in their beliefs about art as a communicative system; teachers intentionally studied their children’s visual texts differently after professional development; teachers intentionally integrated visual arts as a part of assessment in social studies. Two key findings emerged from student data analysis: Students visually represented key concepts in social studies in their visual texts and they found art to be a “fun” way to demonstrate social studies learning. The significance of this study offers insight into other communicative systems-art and specifically drawings—as a viable way to assess students’ knowledge and skills in content areas.

This study focuses on analysing Mexican children’s representations of death inasmuch as children are perceived as social actors that have an active role in constructing and giving meaning to social reality. The importance of analysing children’s representations about death is that it provides an opportunity to know how children give meaning to a notion that intersects with personal experiences, emotions, religious beliefs, and a sociocultural context. Therefore, the aim of this study is to analyse, visually and verbally, the ways in which children - from 8 to 9 years of age - in a Mexican primary school represent their understanding of death through their drawings and their oral descriptions of them, which may unveil their opinions on the subject. The research material consists of the drawings and interviews of primary school children in Mexico. The girls and boys, who were in third grade, were selected from a school population based on a convenience sampling (Bryman 2016, p.187). The method of analysis is a combination of thematic analysis and Rose’s visual discourse analysis I. The main findings are that the participants represented their understanding of death in terms of realistic, fantastic and afterlife narratives according to their experiences. Most of the participants’ visions of death were represented with archetypal symbols of death, such as death personified. Contrary, the representations of the few participants who had a personal loss were realistic, except for one of them. In this sense, children’s representations of death draw on discourses imbued in visual media, religion, morality, and culture. Children's emotions about death varied according to their experiences, although most participants said that they do not fear death. Regarding life after death, most participants recognize a duality between body and soul. While the body dies, the soul lives and the place where the soul goes was perceived mainly in moralistic terms.

Representation, process, experience: (post)industrial landscape in anthropological-geographical perspective Abstract The main topic of the dissertation is the (post)industrial landscape of what is today the Czech Republic. In particular, the dissertation presents three case studies of three (post)industrial landscapes: that of Ostrava, Kladno and Most. The aim of the dissertation is twofold - thematic as well as theoretical. As far as the thematic focus of the dissertation goes, the author employs the concept of landscape as a prism through which it is possible to explore large societal shifts and changes as they are mirrored in landscape. The question is what has happened to industrial landscape after the fall of socialism and how industrial landscape has turned into what it is now. On the theoretical level, the (post)industrial landscape of contemporary Czechia is used as a means of exploring the complexity of the concept of landscape and developing a conceptualization of landscape that comes to terms with its complexity, ambiguity and elusiveness. In terms of theory, the dissertation engages with three ways of conceptualising landscape prevalent in contemporary anthropology and (new cultural) geography: landscape as representation, process and experience. To explore them in depth and reveal any...

Representation, process, experience: (post)industrial landscape in anthropological-geographical perspective Abstract The main topic of the dissertation is the (post)industrial landscape of what is today the Czech Republic. In particular, the dissertation presents three case studies of three (post)industrial landscapes: that of Ostrava, Kladno and Most. The aim of the dissertation is twofold - thematic as well as theoretical. As far as the thematic focus of the dissertation goes, the author employs the concept of landscape as a prism through which it is possible to explore large societal shifts and changes as they are mirrored in landscape. The question is what has happened to industrial landscape after the fall of socialism and how industrial landscape has turned into what it is now. On the theoretical level, the (post)industrial landscape of contemporary Czechia is used as a means of exploring the complexity of the concept of landscape and developing a conceptualization of landscape that comes to terms with its complexity, ambiguity and elusiveness. In terms of theory, the dissertation engages with three ways of conceptualising landscape prevalent in contemporary anthropology and (new cultural) geography: landscape as representation, process and experience. To explore them in depth and reveal any...

Denna uppsats ämnar till att skapa insikt och kunskap kring turistiska diskurser rörande natur, genom att undersöka vilka bilder och representationer kring natur i de svenska nationalparkerna som framhävs i turistbroschyrer, hur människa-natur-relationer framställs men även vilka implikationer det kan framkalla. Med ett avgränsat fokus på nio nationalparker som uppfyller kriterierna av fjällkaraktär eller inbegriper renskötande samebyar. Genom en visuell diskursanalys som metod har turistbroschyrernas bilder, texter och kartor analyserats med applicering av Foucaults diskursperspektiv där makt, kunskap och sanning är centrala begrepp. Resultatet denna studie påvisar är att de diskursiva formationerna består av tre huvuddrag gällande naturen. Den framställs som något exotisk, externt, sublimt, orörd och förhistorisk, men även som en tillgänglig och romantiserad plats för just turisten ifråga samtidigt som naturen porträtteras som något speciellt för Sverige vilket då också symboliserar dess identitet. Turisten porträtteras även som tillfällig besökare, vars relation till naturen särskiljs från samers, vilka istället framställs som ”naturliga” sevärdheter för turisten. Allt som allt resulterar denna studie i ett igenfyllande av en kunskapslucka gällande olika praktikers framställande av representationer kring svenska nationalparker, samtidigt som den påvisar liknande representationer som tidigare studier resulterat i. / This essay aims to create insight and knowledge about tourist discourses regarding nature, by examining which images and representations about nature in the Swedish national parks that are highlighted in tourist brochures, how human-nature relations are produced, but also what implications it can induce. With a delimited focus on nine national parks that meet the criteria of mountain nature or include reindeer herding Sami villages. Through a visual discourse analysis as a method, the pictures, texts, and maps of the tourist brochures have been analyzed with the application of Foucault's discourse perspective where power, knowledge, and truth are central concepts. The result of this study is that the discursive formations consist of three main features of nature. It is presented as something exotic, externally, sublime, untouched, and prehistoric, but also as an accessible and romanticized place for the tourist, and at the same time as something special for Sweden, which symbolizes its identity. The tourist is portrayed as a temporary visitor, whose relation to nature is distinguished from Sami people, who instead are presented as "natural" attractions for the tourist. All in all, this study results in a refilling of a knowledge gap regarding the presentation of representations by various practitioners about Swedish national parks, while at the same time demonstrating similar representations that previous studies have resulted in.