Discurso e identidade feminina na mídia impressa: a evolução da mulher no mercado de trabalho

The female identity in relation to the multiplicity of roles of contemporary women and their evolution in the labor market is the focus of the work that is developed from studies of French line Discourse Analysis refered to Michel Pêcheux and Michel Foucault. The objective is to reflect on the discursive mechanisms of print media, focusing on Veja magazines covers, which, by its verbal and visual language, constructs meaning effects and disseminates certain social thruths about the female changes. Considering that this media aspect plays an important role on society's opinion formation, it is worth to investigate, analyse and describe the elements present on the covers, as seduction and persuasion objects. The work analysis material is formed by six covers published by Veja magazine in the period of 1968-2012, which raise the theme of women in the labor market and show us their evolution and the changes in the representations about the female universe and the work in society

Características narrativas de vídeos jornalísticos na televisão e na internet

Pós-graduação em Educação - FFC

Análise de formas planas em imagens digitais

Given the widespread use of computers, the visual pattern recognition task has been automated in order to address the huge amount of available digital images. Many applications use image processing techniques as well as feature extraction and visual pattern recognition algorithms in order to identify people, to make the disease diagnosis process easier, to classify objects, etc. based on digital images. Among the features that can be extracted and analyzed from images is the shape of objects or regions. In some cases, shape is the unique feature that can be extracted with a relatively high accuracy from the image. In this work we present some of most important shape analysis methods and compare their performance when applied on three well-known shape image databases. Finally, we propose the development of a new shape descriptor based on the Hough Transform.

Idosos e embalagens alimentares: avaliação do design ergonómico de informação

The packaging often presents faults that difficult the communication between product and consumer. The aim of this research is to study the interaction between a group of elderly people with five food packagings, that being illinterpreted, can bring them health problems. The results of this study evidence the importance of ergonomics in graphic design for food packaging.

ARBOT: augmented reality system for teaching logic algorithmic

This article purposes the ARBot, a system that has as main objective the presentation of concepts of logic for students of elementary and secondary education. The system was developed using the technology known as Augmented Reality (AR), which allows complement the actual environment where the user is, by adding virtual objects. In this scenario the RA created from a virtual game interface is used, through which cognitive challenges are presented. To solve these challenges, users must set up three-dimensional virtual characters using visual language. As a result it follows that, in a playful way, concepts of algorithms and programming are assimilated by users. In addition, the system enables two users to interact in a cooperative game mode. In cooperative mode, the system focuses on collaborative learning, since it allows users to jointly solve the cognitive challenge presented by the system.

Estúdio Ghibli: um aparato sobre as técnicas ilustrativas e filosofia oriental dos principais longas metragens de Hayao Miyazaki

In front of the vast and widespread use of new technology in 3D animation currently, this research aims to give an overview adjacent to major film productions with Studio Ghibli and its main director/animator: Hayao Miyazaki. Showing up as an interesting exception to worldwide success, the Ghibli feature films are made with the predominance of 2D hand-drawn art. Its process dates back to the first animations created in the early twentieth century, though such tools have been “overcome” by big studios like Walt Disney, Pixar and Dreamworks, the works of Miyazaki still get considerable highlight, preferring the pencil and paper than the computer. With the aid of some authors in particular as McCloud and the founders of Anima Mundi, and other theorists of design and subjective philosophy, some analyzes are mapped to better understand the connection between the work of Miyazaki and his contribution to the field of illustration and originality as a whole. The objective is to find the key points of Ghibli animations which will drive new parameters between creativity, illustration and Western and Eastern praxis.

Marcas e lugares: um estudo sobre marcas turísticas no Rio de Janeiro

This paper, through a literature review, demonstrates the importance of the use of brands by men, initially as a form of expression and communication. History has shown that the visual language and the use of images in the form of the brands, proved a very efficient and direct interpretation, with accuracy to what it represents, setting the brand as a financially valued member. The paper deals with analysis of the Spanish example that argues the way that touristic points has been used to represent places in the whole world; then, at the same time, it measures the case of the Brazilian city of Rio de Janeiro where brands are created for special events and there is not a representative tourist brand to this town; But when analyzing the places in the city, symbols like The Copacabana Promenade has a strong presence in the collective imagination, that's the reason why it has been used as an element of strong local identity and in the Industrial Design.

Elementos visuais no shoujo mangá: expressando sensações, emoções e sentimentos

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Elementos visuais no shoujo mangá: expressando sensações, emoções e sentimentos

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

I manoscritti miniati dell'Illustratore nella cultura figurativa del secondo quarto del XIV secolo

La tesi è dedicata alla personalità artistica dell’Illustratore, tra i protagonisti della miniatura bolognese degli anni trenta e quaranta del Trecento, così felicemente soprannominato da Roberto Longhi. Dopo un capitolo dedicato alla vicenda critica dell’artista, la tesi affronta il percorso artistico dell’Illustratore nell’ambito della decorazione libraria bolognese del secondo quarto del XIV secolo. Ho trattato le opere attribuite al’Illustratore insieme agli esempi contemporanei della miniatura bolognese, in modo da far emergere il ruolo di questo maestro nelle relazioni con il contesto cittadino. Nella successione cronologica dei manoscritti, emerge un nuovo sconvolgimento caotico che scardina l’ordine spaziale e compositivo delle opere iniziali debitrici del giottismo del Maestro del 1328. Il capitolo si conclude con alcune osservazioni sui rapporti tra il maestro e i suoi aiuti e sul rapporto con Buffalmacco. In questo capitolo sono inoltre presentate due nuove attribuzioni. Gli ultimi due capitoli sono un approfondimento sull’interazione tra il linguaggio figurativo dell’artista e la funzione dell’immagine quale forma di comunicazione visiva in stretta relazione con i testi scritti che accompagnano e sui caratteri della committenza, là dove è possibile definirli. La prima parte del terzo capitolo è dedicata all’illustrazione dei libri legales, mentre nella seconda parte si tratta di un caso particolare, le iniziali istoriate dell’Inferno e del Purgatorio di Dante Alighieri della Biblioteca Riccardiana di Firenze (ms. 1005), per molti aspetti riconducibili all’illustrazione giuridica. La mia intenzione in questo capitolo è di verificare come il caratteristico linguaggio narrativo espressivo e diretto dell’Illustratore abbia risposto alla funzione delle immagini dipinte nei codici giuridici di offrire una struttura materiale alla memorizzazione visiva per via di luoghi e figure dei contenuti di studio del diritto comune. In appendice alla tesi si trova un catalogo dei manoscritti decorati da miniature dell’Illustratore, comprensivo anche di una sezione per le opere di dubbia o erronea attribuzione.

Magic Lantern Slides 2

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 4

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 1

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

Magic Lantern Slides 3

According to Charles Musser, Huygens had two key innovations for his magic lantern: 1. Images painted on glass instead of etchings on mirrors. 2. An artificial light source was used instead of the reflection of sunlight. (20) Glass slides (often more than one) with hand drawn images are the standard aesthetic for these slides. They are then usually mounted in rectangular wooden frames approx. 4 x 7 inches with a 3 inch circular opening for the image. (Musser 30) The various mechanisms attached to the images are described in the Object Narrative section.

A Forgotten Original or an Original Copy? On MS. Douce 387 in the Bodleian Library: Collecting Early Modern Festival Books

Focusing on one manuscript, today in the Bodleian Library, Oxford, this chapter deals with the question how early modern objects became collectable items. The manuscript is categorized as MS. Douce 387 and its name indicates that it came from the collection of Francis Douce (1757–1834), who was keeper of manuscripts in the British Museum from 1799 until 1811. MS. Douce 387 is described in the catalogue of the Douce’ian collection as the “presentation copy with coloured designs by Marten de Vos and others” of the 1595 printed festival book Descriptio publicae gratulationis … in adventu … Ernesti archiducis Austriae. This festival book, printed in Antwerp’s Plantin-Moretus press, was commissioned by the magistrate of the city of Antwerp to commemorate the Joyous Entry of Archduke Ernest of Austria from June 1594; that an “archducal copy” bound in red velvet was commissioned as well and was owned by the Archduke is know as well. However, first research showed that Oxford copy cannot be this “archducal copy” or Marten de Vos’s artist’s copy even though it is the only know version with a handwritten text and hand-drawn illustrations. It rather should be examined as something totally different altogether. The main question remains why someone then commissioned a hand made version of this festival book, something unknown for other books of this genre? Why would someone between 1600 and 1800 sit down and copy texts and prints from a collectable book? Why was there such an on-going interest in early modern festival books? Could this manuscript be the only later made copy of the “archducal volume” or is it rather a forgery made for the European collectors’ market?