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The thesis aims to describe how was the Hong Kong pro-democracy movement, which began in June 2019 in response to the proposed extradition law, perceived. In its theoretical part, the thesis will focus on a detailed description of the historical development of Hong Kong and the formation of an independent Hong Kong identity. Major events will be presented, from the times of colonial administration to the description of pro-democracy protests in 2019, which affected the current state of Hong Kong. Subsequently the theoretical framework of the processes of hegemony and visual representation will be introduced, which will be further presented in the context of Hong Kong. Last but not least, the topic of journalistic photography and its significance in the current journalistic field will be defined. The practical part of the thesis will offer an analysis of how the direct participants perceived the pro-democracy movement in Hong Kong, and whether their perceptions of events correspond not only with each other but also with the journalistic visual material that mapped four months of protests. A photo essay from the author's set of photographs was created to be also analysed in this work, part of which was subjected to a socio-semiotic analysis. Last but not least, there will be a comparison of results...

(anglický) The presented master's thesis focuses on the visual representation of the natural and cultivated female body, responding to the hygienic, eugenic and aesthetic requirements of the newly created state. In addition to strengthening the modern national identity, it was to form and represent a positive image of the new womanhood that resulted in the project of a civilized woman in the late 1920s. The new social arrangement required a new type of modern man, and therefore also of a woman. Within it, two seemingly unrelated areas merged - science and visual culture, which pursued to define the ideal of the modern female body: beautiful, healthy, morally and aesthetically appealing. The image of a woman doing sports became the emblem of the newly formed republic. The female body gained added aesthetic value, it became a new ornament and communicative sign, infiltrating into the visual culture beginning with advertising and culminating in fine arts. We focus on the role of modern dance and the personality of Milča Mayerová, a prominent First Republic dancer and symbol of a modern woman, who reflected the changing requirements of the time with her visual representation and publishing activities. Key words (anglický) Body, modernity, womanhood, new woman, visual culture, visual representation,...

This thesis, The Self-myth: Profile Picture of Youth, show how adolescents use technologies for visual on-line self-presentation. Firstly, we describe the context of social media, the social network site Facebook and the concept of digital youth. In the next part we study construction of the profile picture and the important role of digital tools in the on-line lives of teenagers. The last part is the theory of semiotics and readers can see how youth create own self-myth.

There are three main results in this dissertation. The first result is the construction of an abstract visual space for rational numbers mod1, based on the visual primitives, colour, and rational radial direction. Mathematics is performed in this visual notation by defining increasingly refined visual objects from these primitives. In particular, the existence of the Farey tree enumeration of rational numbers mod1 is identified in the texture of a two-dimensional animation. ¶ The second result is a new enumeration of the rational numbers mod1, obtained, and expressed, in abstract visual space, as the visual object coset waves of coset fans on the torus. Its geometry is shown to encode a countably infinite tree structure, whose branches are cosets, nZ+m, where n, m (and k) are integers. These cosets are in geometrical 1-1 correspondence with sequences kn+m, (of denominators) of rational numbers, and with visual subobjects of the torus called coset fans. ¶ The third result is an enumeration in time of the visual hierarchy of the discrete buds of the Mandelbrot boundary by coset waves of coset fans. It is constructed by embedding the circular Farey tree geometrically into the empty internal region of the Mandelbrot set. In particular, coset fans attached to points of the (internal) binary tree index countably infinite sequences of buds on the (external) Mandelbrot boundary.

Depuis plusieurs décennies, un nombre important de travaux en linguistique et sciences cognitives avancent une thèse selon laquelle l’expression du temps dans la langue dépend de la cognition de l’espace. Cette étude cherche à établir que le discours scientifique sur les rapports temps–espace dans la langue et la cognition est un objet épistémologique qui a sa propre histoire et ses propres motivations disciplinaires. Ainsi, le programme de recherche généralement admis est le produit d’une trame complexe d’intérêts qui ne favorisent pas nécessairement la recherche de l’objet scientifique. Dans une première partie, nous confirmons que les rapports linguistiques entre temps et espace constituent un objet historique et variable, tant dans la langue que dans la pensée sur la langue. Dans une deuxième partie, nous explorons la tendance à la spatialisation du temps dans les écrits des philosophes et grammairiens des Lumières et dans le travail de Gustave Guillaume (1883–1960). Dans une troisième partie, nous examinons le paradigme de la priorité spatiale dans la linguistique cognitive à partir des années 1970 jusqu’à nos jours. Les résultats de cette étude nous amènent à proposer des lignes directrices pour la recherche future des manifestations linguistiques des rapports temps–espace. / Over the past few decades, a considerable number of studies in linguistics and the cognitive sciences have put forward the claim that the expression of time in language relies on the cognition of space. This study aims to show that the scientific discourse on time–space relations in language and cognition is an epistemological object, shaped by its history and disciplinary motivations. Thus, the predominant research framework of time–space relations is the product of an intricate network of interests which do not necessarily facilitate the research of the scientific object. In the first part of the study we show that relations between time and space changed through the history of both language and the theory of language. In the second part, we explore the theoretical trend of the spatialization of time in the writings of key philosophers and grammarians of the Enlightenment, and in the oeuvre of the French linguist Gustave Guillaume (1883-1960). In the third part we examine the paradigm of spatial priority in cognitive linguistics from the 1970s until today. The conclusions of the study lead us to put forth some proposals for the future research of time, space and the time–space interface in language.

Aujourd’hui et à l’avenir, nous devrons interagir de plus en plus avec des représentations visuelles nous invitant à poser des gestes d’achat qui contribuent, par exemple, à la lutte contre les changements climatiques. Ainsi une autodéclaration, un écolabel ou une étiquette environnementale multicritères pourront nous inciter (ou non) à recycler un produit, à le choisir ou encore à le comparer avec d’autres produits en fonction de l’information que cette représentation et les signes qui la composent lui feront dire. Ce scénario repose sur l’idée selon laquelle la typographie, les formes, les couleurs et la configuration de cet affichage environnemental possèdent de multiples formes d’agentivité, soit la capacité d'agir, autrement dit, de faire une différence (Castor & Cooren, 2006), une capacité qu’il s’agit donc d’anticiper. La conception de ces représentations visuelles, en apparence inanimées, mais qui néanmoins sont censées faire agir le public auquel elles s’adressent, s’inscrit dans ma pratique professionnelle : le design graphique. En raison de l’information plus ou moins complexe qui doit être véhiculée, ces signes — des icônes, indices et symboles (selon la classification de Peirce) — devront être choisis et conçus par une équipe multidisciplinaire d’experts en anticipant les multiples formes d’agentivité qu’ils pourraient posséder une fois configurés. Or, bien que le processus de conception des représentations visuelles ait été abondamment étudié (Self & Goldschmidt, 2018), nous en savons encore peu sur la manière dont sont anticipées les différentes formes d’agentivité que ces représentations pourront/devront posséder en aval, au terme de la trajectoire. Les études en design suggèrent qu’une « vision professionnelle partagée » du projet à concevoir émerge à travers les représentations visuelles — des objets-frontière et intermédiaires (Vinck, 2009) — rencontrées en amont de la trajectoire (Comi, Jaradat, & Whyte, 2019). Dans ce contexte, je propose de répondre à la question suivante : Quelle est la trajectoire de conception collaborative et multidisciplinaire des multiples formes d’« agentivité anticipée » d’une représentation visuelle ?Pour répondre à cette question, je me suis inspirée de l’ethnométhodologie, (Garfinkel, 1984), de la sociologie des associations (Latour, 2006 ; Callon, 1986) et de l’approche constitutive de la communication organisationnelle (CCO, Schoeneborn et al., 2014), pour étudier les interactions entre les principaux actants — des éléments humains et autres qu’humains — qui agissent lors de la trajectoire de conception d’un affichage environnemental de la durée de vie d’un appareil électronique. La trajectoire en six temps et quatre mouvements (zooming-out et passé/ futur), que j’analyse à travers la plateforme de présentation Prezi®, oscille entre les moments clés de collaboration mobilisant les membres de notre équipe multidisciplinaire de conception et les séances de consultation menées avec un comité consultatif d’experts provenant également de différentes disciplines. Le regard réflexif que je pose sur la conception de « l’agentivité anticipée » des représentations visuelles par les représentations visuelles — première contribution de cette thèse — suggère que l’affichage environnemental s’est matérialisé principalement grâce aux interactions situées avec des actants hétérogènes (in)tangibles relevant du passé, du présent ou du futur. En effet, de multiples porte-parole parlant au nom, par exemple, du public (consommateur ou usager), du fabricant, du réparateur, des autorités politiques ou des (éco)concepteurs de produits se sont ainsi exprimés par l’entremise des représentations visuelles conçues tout au long de cette trajectoire. La configuration de ces signes — lettres, chiffres, formes, etc. — a provoqué de multiples (dés)accords générés par nos visions professionnelles et/ou personnelles respectives. Ces visions « (dé)partagées » de l’« agentivité anticipée » des représentations visuelles ont cependant grandement contribué au processus de conception en dévoilant des actants (in)visibles jusqu’alors ainsi que leurs relations de pouvoir. Cette « compréhension (dé)partagée » collaborative et multidisciplinaire lors du processus de conception — deuxième contribution de cette thèse — pourrait être une voie à suivre pour créer des dispositifs visuels mobilisant davantage les êtres humains et autres qu’humains vers une transition écologique réussie (Brullot et al., 2017). / Nowadays and in the future, we will interact more and more often with visual representations that will invite us to take actions that contribute, for example, to the fight against climate change. Thus, a self-declaration, an eco-label or a multi-criteria environmental label will encourage us (or not) to recycle a product, to choose it or to compare it with other products according to the information that this representation and the signs that constitutes it should convey. In this scenario, the typography, shapes, colors and configuration of this environmental label will possess multiple forms of agency, the capacity to act, that is, to make a difference (Castor & Cooren, 2006), a capacity that has to be anticipated. The design of these visual representations, apparently inanimate but which nevertheless communicate and make people do things, is part of my professional practice: graphic design. Because of the more or less complex information they convey, these signs — icons, index and symbols, according to Peirce’s classification — will often have to be designed by a multidisciplinary team of experts, anticipating the multiple forms of agency they might possess once configured. However, although the process of designing visual representations has been extensively studied, we still know little about the collaborative design of the different forms of agency these representations may (or should) possess at the end of the process. Design studies suggest that a “shared professional vision” of the project to be designed emerges through visual representations — boundary and intermediary objects (Vinck, 2009) — encountered early in the trajectory (Comi, Jaradat, & Whyte, 2019). In this context, I propose to address the following research question: What is the collaborative and multidisciplinary design trajectory of the multiple forms of “anticipated agency” of a visual representation? To answer this question, I drew on ethnomethodology, (Garfinkel, 1984), the sociology of associations (Latour, 2006; Callon, 1986) as well as the communicative constitution of organization approach (CCO, Schoeneborn et al., 2014) to document and analyze the interactions between key actants — humans and other-than-human — that are making a difference during the design trajectory of an environmental label conceived to inform about the life span of an electronic device. The six-beat and four-movement trajectory (zooming-out and past/ future), that I analyse through the Prezi® presentation online platform, oscillates between key moments of collaboration between members of our multidisciplinary design team and consultation sessions conducted with an advisory committee of experts also from different disciplines. My reflective vision through the design of the “anticipated agency” of visual representations with visual representations — the first contribution of this dissertation — suggests that the environmental label materialized primarily through situated interactions with heterogeneous (in)tangible actants belonging to the past, present, or future. Indeed, multiple spokespersons speaking on behalf of, for example, the public (the consumer or the user), the manufacturer, the repairer, the political authorities or the (eco)designers of products have thus expressed themselves through the visual representations designed. The configuration of these signs — letters, numbers, shapes, colors, etc. — has induced multiple (dis) agreements generated by our respective professional and/or personal visions. However, these (un)shared visions of the “anticipated agency” of those visual representations, however, greatly contributed to the design process by revealing previously unseen actants and their power relations. This collaborative and multidisciplinary “(un)shared understanding” of the design process — the second contribution of this dissertation — could be a way forward to create visual devices that further mobilize human and other-than-human toward a successful ecological transition (Brullot et al., 2017).

In this article, based on Dissection-Motion-Operations, DMO (decomposing a figure into several pieces and composing the resulting pieces into a new figure of equal area), a set of visual representations (models) of mathematical concepts will be introduced. The visual models are producible through manipulation and computer GSP/Cabri software. They are based on the van Hiele’s Levels (van Hiele, 1989) of Thought Development; in particular, Level 2 (Informal Deductive Reasoning) and level 3 (Deductive Reasoning). The basic theme for these models has been visual learning and understanding through manipulatives and computer representations of mathematical concepts vs. rote learning and memorization. The three geometric transformations or motions: Translation, Rotation, Reflection and their possible combinations were used; they are illustrated in several texts. As well, a set of three commonly used dissections or decompositions (Eves, 1972) of objects was utilized.

In this article, based on Dissection-Motion-Operations, DMO (decomposing a figure into several pieces and composing the resulting pieces into a new figure of equal area), a set of visual representations (models) of mathematical concepts will be introduced. The visual models are producible through manipulation and computer GSP/Cabri software. They are based on the van Hiele’s Levels (van Hiele, 1989) of Thought Development; in particular, Level 2 (Informal Deductive Reasoning) and level 3 (Deductive Reasoning). The basic theme for these models has been visual learning and understanding through manipulatives and computer representations of mathematical concepts vs. rote learning and memorization. The three geometric transformations or motions: Translation, Rotation, Reflection and their possible combinations were used; they are illustrated in several texts. As well, a set of three commonly used dissections or decompositions (Eves, 1972) of objects was utilized.