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Barthes</title> <meta name="description" content="Search results for: Barthes"> <meta name="keywords" content="Barthes"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="Barthes"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 14</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Barthes</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Structural Analysis of Kamaluddin Behzad's Works Based on Roland Barthes' Theory of Communication, 'Text and Image'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahsa%20Khani%20Oushani">Mahsa Khani Oushani</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Kazem%20Hasanvand"> Mohammad Kazem Hasanvand</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Text and image have always been two important components in Iranian layout. The interactive connection between text and image has shaped the art of book design with multiple patterns. In this research, first the structure and visual elements in the research data were analyzed and then the position of the text element and the image element in relation to each other based on Roland Barthes theory on the three theories of text and image, were studied and analyzed and the results were compared, and interpreted. The purpose of this study is to investigate the pattern of text and image in the works of Kamaluddin Behzad based on three Roland Barthes communication theories, 1. Descriptive communication, 2. Reference communication, 3. Matched communication. The questions of this research are what is the relationship between text and image in Behzad's works? And how is it defined according to Roland Barthes theory? The method of this research has been done with a structuralist approach with a descriptive-analytical method in a library collection method. The information has been collected in the form of documents (library) and is a tool for collecting online databases. Findings show that the dominant element in Behzad's drawings is with the image and has created a reference relationship in the layout of the drawings, but in some cases it achieves a different relationship that despite the preference of the image on the page, the text is dispersed proportionally on the page and plays a more active role, played within the image. The text and the image support each other equally on the page; Roland Barthes equates this connection. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=text" title="text">text</a>, <a href="https://publications.waset.org/abstracts/search?q=image" title=" image"> image</a>, <a href="https://publications.waset.org/abstracts/search?q=Kamaluddin%20Behzad" title=" Kamaluddin Behzad"> Kamaluddin Behzad</a>, <a href="https://publications.waset.org/abstracts/search?q=Roland%20Barthes" title=" Roland Barthes"> Roland Barthes</a>, <a href="https://publications.waset.org/abstracts/search?q=communication%20theory" title=" communication theory"> communication theory</a> </p> <a href="https://publications.waset.org/abstracts/138346/structural-analysis-of-kamaluddin-behzads-works-based-on-roland-barthes-theory-of-communication-text-and-image" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138346.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">192</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Toward a Methodology of Visual Rhetoric with Constant Reference to Mikhail Bakhtin’s Concept of “Chronotope”: A Theoretical Proposal and Taiwan Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hsiao-Yung%20Wang">Hsiao-Yung Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to elaborate methodology of visual rhetoric with constant reference to Mikhail Bakhtin’s concept of “chronotope”. First, it attempts to outline Ronald Barthes, the most representative scholar of visual rhetoric and structuralism, perspective on visual rhetoric and its time-space category by referring to the concurrent word-image, the symbolic systematicity, the outer dialogicity. Second, an alternative approach is explored for grasping the dynamics and functions of visual rhetoric by articulating Mikhail Bakhtin’s concept of “chronotope.” Furthermore, that visual rhetorical consciousness could be identified as “the meaning parabola which projects from word to image,” “the symbolic system which proceeds from sequence to disorder,” “the ideological environment which struggles from the local to the global.” Last but not least, primary vision of the 2014 Taipei LGBT parade would be analyzed preliminarily to evaluate the effectiveness and persuasiveness embodied by specific visual rhetorical strategies. How Bakhtin’s concept of “chronotope” to explain the potential or possible ideological struggle deployed by visual rhetoric might be interpreted empirically and extensively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=barthes" title="barthes">barthes</a>, <a href="https://publications.waset.org/abstracts/search?q=chronotope" title=" chronotope"> chronotope</a>, <a href="https://publications.waset.org/abstracts/search?q=Mikhail%20Bakhtin" title=" Mikhail Bakhtin"> Mikhail Bakhtin</a>, <a href="https://publications.waset.org/abstracts/search?q=Taipei%20LGBT%20parade" title=" Taipei LGBT parade"> Taipei LGBT parade</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20rhetoric" title=" visual rhetoric"> visual rhetoric</a> </p> <a href="https://publications.waset.org/abstracts/35852/toward-a-methodology-of-visual-rhetoric-with-constant-reference-to-mikhail-bakhtins-concept-of-chronotope-a-theoretical-proposal-and-taiwan-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35852.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">474</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> Structure Analysis of Text-Image Connection in Jalayrid Period Illustrated Manuscripts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahsa%20Khani%20Oushani">Mahsa Khani Oushani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Text and image are two important elements in the field of Iranian art, the text component and the image component have always been manifested together. The image narrates the text and the text is the factor in the formation of the image and they are closely related to each other. The connection between text and image is an interactive and two-way connection in the tradition of Iranian manuscript arrangement. The interaction between the narrative description and the image scene is the result of a direct and close connection between the text and the image, which in addition to the decorative aspect, also has a descriptive aspect. In this article the connection between the text element and the image element and its adaptation to the theory of Roland Barthes, the structuralism theorist, in this regard will be discussed. This study tends to investigate the question of how the connection between text and image in illustrated manuscripts of the Jalayrid period is defined according to Barthes’ theory. And what kind of proportion has the artist created in the composition between text and image. Based on the results of reviewing the data of this study, it can be inferred that in the Jalayrid period, the image has a reference connection and although it is of major importance on the page, it also maintains a close connection with the text and is placed in a special proportion. It is not necessarily balanced and symmetrical and sometimes uses imbalance for composition. This research has been done by descriptive-analytical method, which has been done by library collection method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=structure" title="structure">structure</a>, <a href="https://publications.waset.org/abstracts/search?q=text" title=" text"> text</a>, <a href="https://publications.waset.org/abstracts/search?q=image" title=" image"> image</a>, <a href="https://publications.waset.org/abstracts/search?q=Jalayrid" title=" Jalayrid"> Jalayrid</a>, <a href="https://publications.waset.org/abstracts/search?q=painter" title=" painter"> painter</a> </p> <a href="https://publications.waset.org/abstracts/138869/structure-analysis-of-text-image-connection-in-jalayrid-period-illustrated-manuscripts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138869.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">233</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Postmodernism and Metanarrative: Deconstruction of Narrative in a Song of Ice and Fire Fantasy TV Series</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Narjes%20Azimi">Narjes Azimi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It has been a while that narrative and storytelling turned to be the inevitable part of media. The narrative has so many aspects and among those entire aspects, the fantasy genre is consciously challenging one as fantasy readers are used to reading narratives like good versus evil plot. This paper will analyze the ASOIF TV series as a Meta narrative cultural production that deconstructs the elements of a traditional narrative. This study will shade on a grand narrative perspective from poststructuralism point of view. The theoretical framework is structuralism and post structuralism. Lyotard and Barthes are two main poststructuralists and focus of the study. Lyotard grand narrative elements will analyze in this research study. Fantasy genre generated a number of outstanding authors that explore innovative perspectives. Among all these leading authors George R.R Martin is one of the best. George R. R. Martin’s Fantasy a Song of Ice and Fire picturized the brutal world that seven kingdoms struggling for the power. Since 2011 this production has been followed and watched by millions of audiences all around the world. The methodology is the textual analysis of selected scenes. Martin’s distinctive fantasy style which makes it different from other fantasies, yet this shift does not negate how the previous fantasy writers represent the mentioned concepts of war, and etc., but Martin’ fantasy and left the mature audiences full of uncertainty. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=narrative%20theory" title="narrative theory">narrative theory</a>, <a href="https://publications.waset.org/abstracts/search?q=metanarrative" title=" metanarrative"> metanarrative</a>, <a href="https://publications.waset.org/abstracts/search?q=deconstruction" title=" deconstruction"> deconstruction</a>, <a href="https://publications.waset.org/abstracts/search?q=post-structuralism" title=" post-structuralism"> post-structuralism</a>, <a href="https://publications.waset.org/abstracts/search?q=Lyotard" title=" Lyotard"> Lyotard</a>, <a href="https://publications.waset.org/abstracts/search?q=Barthes" title=" Barthes"> Barthes</a> </p> <a href="https://publications.waset.org/abstracts/87831/postmodernism-and-metanarrative-deconstruction-of-narrative-in-a-song-of-ice-and-fire-fantasy-tv-series" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87831.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">294</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> A Barthesian Analysis of Semiotic Practices in an Indigenous School in Taiwan: A Case of a Bunun Primary School</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yi%20Yin%20Chen">Yi Yin Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Changsoo%20Hur"> Changsoo Hur</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study explores the role of totems and decorative texts on an indigenous primary school campus in Taiwan, as well as how they affect the building of the cultural identity of indigenous students. By employing Roland Barthes' semiotic theory, this research aims to uncover the cultural meanings and social functions contained in these visual symbols, as well as their significance for building a cultural identity among indigenous students. The study uses a qualitative method, combining observations, interviews, and document analysis to explore how these symbols perform as carriers of hidden meaning and contribute to educational and cultural settings. The findings show that totems on the indigenous school campus reflect the ethnic group's cultural background knowledge, allowing students to study their cultural heritage and providing a sense of belonging. However, certain textual decorations also reflect the historical influence of the hegemonic government attempting to establish moral norms in the ethnic group. This coexistence of traditional ethnic totems and hegemonic textual admonitions in the school environment creates a complex identity landscape for students, leading to a multiplicity of cultural identities. It underlines the importance of culturally relevant symbols in enhancing students' cultural heritage and identity and presents the challenges posed by conflicting cultural messages within the educational context. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Roland%20Barthes" title="Roland Barthes">Roland Barthes</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotic" title=" semiotic"> semiotic</a>, <a href="https://publications.waset.org/abstracts/search?q=Indigenous" title=" Indigenous"> Indigenous</a>, <a href="https://publications.waset.org/abstracts/search?q=Bunun" title=" Bunun"> Bunun</a> </p> <a href="https://publications.waset.org/abstracts/186405/a-barthesian-analysis-of-semiotic-practices-in-an-indigenous-school-in-taiwan-a-case-of-a-bunun-primary-school" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186405.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">50</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> The Construction of the Bridge between Mrs Dalloway and to the Lighthouse: The Combination of Codes and Metaphors in the Structuring of the Plot in the Work of Virginia Woolf</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mar%C3%ADa%20Rosa%20Mucci">María Rosa Mucci</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tzvetan Todorov (1971) designs a model of narrative transformation where the plot is constituted by difference and resemblance. This binary opposition is a synthesis of a central figure within narrative discourse: metaphor. Narrative operates as a metaphor since it combines different actions through similarities within a common plot. However, it sounds paradoxical that metonymy and not metaphor should be the key figure within the narrative. It is a metonymy that keeps the movement of actions within the story through syntagmatic relations. By the same token, this articulation of verbs makes it possible for the reader to engage in a dynamic interaction with the text, responding to the plot and mediating meanings with the contradictory external world. As Roland Barthes (1957) points out, there are two codes that are irreversible within the process: the codes of actions and the codes of enigmas. Virginia Woolf constructs her plots through a process of symbolism; a scene is always enduring, not only because it stands for something else but also because it connotes it. The reader is forced to elaborate the meaning at a mythological level beyond the lines. In this research, we follow a qualitative content analysis to code language through the proairetic (actions) and hermeneutic (enigmas) codes in terms of Barthes. There are two novels in particular that engage the reader in this process of construction: Mrs Dalloway (1925) and To the Lighthouse (1927). The bridge from the first to the second brings memories of childhood, allowing for the discovery of these enigmas hidden between the lines. What survives? Who survives? It is the reader's task to unravel these codes and rethink this dialogue between plot and reader to contribute to the predominance of texts and the textuality of narratives. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=metonymy" title="metonymy">metonymy</a>, <a href="https://publications.waset.org/abstracts/search?q=code" title=" code"> code</a>, <a href="https://publications.waset.org/abstracts/search?q=metaphor" title=" metaphor"> metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=myth" title=" myth"> myth</a>, <a href="https://publications.waset.org/abstracts/search?q=textuality" title=" textuality"> textuality</a> </p> <a href="https://publications.waset.org/abstracts/182860/the-construction-of-the-bridge-between-mrs-dalloway-and-to-the-lighthouse-the-combination-of-codes-and-metaphors-in-the-structuring-of-the-plot-in-the-work-of-virginia-woolf" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182860.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">58</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> Costume Portrayal In K. Asif’s Mughal E Azam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anketa%20Kumar">Anketa Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Rajantheran%20Al%20Muniandy"> Rajantheran Al Muniandy</a>, <a href="https://publications.waset.org/abstracts/search?q=Rishabh%20Kumar"> Rishabh Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For centuries, Indian costumes are admired for their great aesthetics, functional and narrative qualities. The purpose of the current study is to investigate the role of costumes as visual narratives in Hindi Cinema as Filmmaking is simply one of the most recent manifestations of the human desire to tell stories in which costume acts as a tool to be read as an Intertext by the viewers watching the films. The problem that promoted this study arose when clothes become an interesting topic when examined within the social structures in which they are worn. It is this visual image of dress worn by the character that is investigated in this research through Hindi Cinema of the 1960s, which was a reflection of the society in the realistic form. This research intends to integrate the application of Roland Barthes Semiotic theory in analyzing main movie characters in the National Award-Winning Hindi movie Mughal e Azam (1960). The research helps in filling the gap between the singular level of interpretation and another level that offers a solution towards bridging the gap in viewers' manifold interpretation of a particular movie product. This study focuses on how visual appearance communicates for building up of perception and can relate to notions of realism, defining cultural identity and status in the society. The research methodology is subjected analytical technique that employs in this research is qualitative and descriptive in nature with the use of the Freeze frame technique. The portrayal of costumes is explained with Barthes' principles of Semiotics. The freeze-frame technique stops the motion of the film on a single frame and allows the chosen image to be read as a still photograph. The finding during this research into costume portrayal in the movie was that freezing the frame in midst of running the films attracted attention towards intricate costume details, leading to record the nuanced observations of this minutiae during the movie. Given that during the application of interpretation while watching K Asif’s Mughal e Azam focused on certain aspects of costumes of the king. On the same idea, further research can be employed to strengthen the relation between costumes and visual narration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=character%20portrayal" title="character portrayal">character portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cinema" title=" Indian cinema"> Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20significance" title=" visual significance"> visual significance</a> </p> <a href="https://publications.waset.org/abstracts/142687/costume-portrayal-in-k-asifs-mughal-e-azam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142687.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">186</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Literary Theatre and Embodied Theatre: A Practice-Based Research in Exploring the Authorship of a Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rahul%20Bishnoi">Rahul Bishnoi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Theatre, as Ann Ubersfld calls it, is a paradox. At once, it is both a literary work and a physical representation. Theatre as a text is eternal, reproducible, and identical while as a performance, theatre is momentary and never identical to the previous performances. In this dual existence of theatre, who is the author? Is the author the playwright who writes the dramatic text, or the director who orchestrates the performance, or the actor who embodies the text? From the poststructuralist lens of Barthes, the author is dead. Barthes’ argument of discrete temporality, i.e. the author is the before, and the text is the after, does not hold true for theatre. A published literary work is written, edited, printed, distributed and then gets consumed by the reader. On the other hand, theatrical production is immediate; an actor performs and the audience witnesses it instantaneously. Time, so to speak, does not separate the author, the text, and the reader anymore. The question of authorship gets further complicated in Augusto Boal’s “Theatre of the Oppressed” movement where the audience is a direct participant like the actors in the performance. In this research, through an experimental performance, the duality of theatre is explored with the authorship discourse. And the conventional definition of authorship is subjected to additional complexity by erasing the distinction between an actor and the audience. The design/methodology of the experimental performance is as follows: The audience will be asked to produce a text under an anonymous virtual alias. The text, as it is being produced, will be read and performed by the actor. The audience who are also collectively “authoring” the text, will watch this performance and write further until everyone has contributed with one input each. The cycle of writing, reading, performing, witnessing, and writing will continue until the end. The intention is to create a dynamic system of writing/reading with the embodiment of the text through the actor. The actor is giving up the power to the audience to write the spoken word, stage instruction and direction while still keeping the agency of interpreting that input and performing in the chosen manner. This rapid conversation between the actor and the audience also creates a conversion of authorship. The main conclusion of this study is a perspective on the nature of dynamic authorship of theatre containing a critical enquiry of the collaboratively produced text, an individually performed act, and a collectively witnessed event. Using practice as a methodology, this paper contests the poststructuralist notion of the author as merely a ‘scriptor’ and breaks it further by involving the audience in the authorship as well. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=practice%20based%20research" title="practice based research">practice based research</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20studies" title=" performance studies"> performance studies</a>, <a href="https://publications.waset.org/abstracts/search?q=post-humanism" title=" post-humanism"> post-humanism</a>, <a href="https://publications.waset.org/abstracts/search?q=Avant-garde%20art" title=" Avant-garde art"> Avant-garde art</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/157537/literary-theatre-and-embodied-theatre-a-practice-based-research-in-exploring-the-authorship-of-a-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157537.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> The Presence of Anglicisms in Italian Fashion Magazines and Fashion Blogs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vivian%20Orsi">Vivian Orsi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present research investigates the lexicon of a fashion magazine, whose universe is very receptive to lexical loans, especially those from English, called Anglicisms. Specifically, we intend to discuss the presence of English items and expressions in the Vogue Italia fashion magazine. Besides, we aim to study the anglicisms used in an Italian fashion blog called The Blonde Salad. Within the discussion of fashion blogs and their contributions to scientific studies, we adopt the theories of Lexicology / Lexicography to define Anglicism (BIDERMAN, 2001), and the observation of its prestige in the Italian Language (ROGATO, 2008; BISETTO, 2003). According to the theoretical basis mentioned, we intend to make a brief analysis of the Anglicisms collected from posts of the first year of existence of such fashion blog, emphasizing also the keywords that have the role to encapsulate the content of the text, allowing the reader to retrieve information from the post of the blog. About the use of English in Italian magazines and blogs, we can affirm that it seems to represent sophistication, assuming the value of prerequisite to participate in the fashion centers of the world. Besides, we believe, as Barthes says (1990, p. 215), that “Fashion does not evolve, it changes: its lexicon is new each year, like that of a language which always keeps the same system but suddenly and regularly ‘changes’ the currency of its words”. Fashion is a mode of communication: it is present in man's interaction with the world, which means that such lexical universe is represented according to the particularities of each culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anglicism" title="anglicism">anglicism</a>, <a href="https://publications.waset.org/abstracts/search?q=lexicology" title=" lexicology"> lexicology</a>, <a href="https://publications.waset.org/abstracts/search?q=magazines" title=" magazines"> magazines</a>, <a href="https://publications.waset.org/abstracts/search?q=blogs" title=" blogs"> blogs</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a> </p> <a href="https://publications.waset.org/abstracts/11304/the-presence-of-anglicisms-in-italian-fashion-magazines-and-fashion-blogs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11304.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Metaphorical Devices in Political Cartoons with Reference to Political Confrontation in Pakistan after Panama Leaks</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ayesha%20Ashfaq">Ayesha Ashfaq</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Ajmal%20Ashfaq"> Muhammad Ajmal Ashfaq</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It has been assumed that metaphorical and symbolic contests are waged with metaphors, captions, and signs in political cartoons that play a significant role in image construction of political actors, situations or events in the political arena. This paper is an effort to explore the metaphorical devices in political cartoons related to the political confrontation in Pakistan between the ruling party Pakistan Muslim League Nawaz (PMLN) and opposition parties especially after Panama leaks. For this purpose, political cartoons sketched by five renowned political cartoonists on the basis of their belongings to the most highly circulated mainstream English newspapers of Pakistan and their professional experiences in their genre, were selected. The cartoons were analyzed through the Barthes’s model of Semiotics under the umbrella of the first level of agenda setting theory ‘framing’. It was observed that metaphorical devices in political cartoons are one of the key weapons of cartoonists’ armory. These devices are used to attack the candidates and contribute to the image and character building. It was found that all the selected political cartoonists used different forms of metaphors including situational metaphors and embodying metaphors. Not only the physical stature but also the debates and their activities were depicted metaphorically in the cartoons that create the scenario of comparison between the cartoons and their real political confrontation. It was examined that both forms of metaphors shed light on cartoonist’s perception and newspaper’s policy about political candidates, political parties and particular events. In addition, it was found that zoomorphic metaphors and metaphors of diminishments were also predominantly used to depict the conflict between two said political actors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=metaphor" title="metaphor">metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=Panama%20leaks" title=" Panama leaks"> Panama leaks</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20cartoons" title=" political cartoons"> political cartoons</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20communication" title=" political communication"> political communication</a> </p> <a href="https://publications.waset.org/abstracts/55867/metaphorical-devices-in-political-cartoons-with-reference-to-political-confrontation-in-pakistan-after-panama-leaks" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55867.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">307</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> Death of the Author and Birth of the Adapter in a Literary Work</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Slwa%20Al-Hammad">Slwa Al-Hammad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Adaptation studies have been closely aligned to translation studies as both deal with the process of rendering the meaning from one culture to another. These two disciplines are related to each other, but the theories are still being developed. This research aims to fill this gap and provide a contribution to the growing discipline of adaptation studies through a theoretical perspective while investigating how different cultural interpretations of adaptation influence the final literary product. This research focuses on the theoretical concepts of Barthes’s death of the author and Benjamin’s afterlife of the text in translation, which is believed to lead to the birth of the adapter in a literary work. That is, in adaptation, the ‘death’ of the author allows for the ‘birth’ of the adapter, offering them all the creative possibilities of authorship. It also explores the differences between the meanings of adaptation in the West and the Arab world through the analysis of adapted texts in Arabic initially deriving from the European and American literature of the 19th and 20th centuries. The methodology of this thesis is based upon qualitative literary analysis, in which original and adapted works are compared and contrasted, with the additional insights of literary and adaptation theories and prior scholarship. The main works discussed are the Arabic adaptations of William Faulkner’s novels. The analysis is guided by theories of adaptation studies to help in explaining the concepts of relocating, recreating, and rewriting in the process of adaptation. It draws on scholarship on adaptations to inquire into the status of the adapted texts in relation to the original texts. Also, these theories prove that adaptation is the process that is used to transfer text from source to adapted text, not some other analytical practice. Through the textual analysis, concepts of the death of the author and the birth of the adapter will be illustrated, as will the roles of the adapter and the task of rendering works for a different culture, and the understanding of adaptation and Arabization in Arabic literature. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adaptation" title="adaptation">adaptation</a>, <a href="https://publications.waset.org/abstracts/search?q=Arabization" title=" Arabization"> Arabization</a>, <a href="https://publications.waset.org/abstracts/search?q=authorship" title=" authorship"> authorship</a>, <a href="https://publications.waset.org/abstracts/search?q=recreating" title=" recreating"> recreating</a>, <a href="https://publications.waset.org/abstracts/search?q=relocating" title=" relocating"> relocating</a> </p> <a href="https://publications.waset.org/abstracts/150248/death-of-the-author-and-birth-of-the-adapter-in-a-literary-work" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/150248.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">136</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Discourse Analysis and Semiotic Researches: Using Michael Halliday's Sociosemiotic Theory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Deyu%20Yuan">Deyu Yuan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Discourse analysis as an interdisciplinary approach has more than 60-years-history since it was first named by Zellig Harris in 'Discourse Analysis' on Language in 1952. Ferdinand de Saussure differentiated the 'parole' from the 'langue' that established the principle of focusing on language but not speech. So the rising of discourse analysis can be seen as a discursive turn for the entire language research that closely related to the theory of Speech act. Critical discourse analysis becomes the mainstream of contemporary language research through drawing upon M. A. K. Halliday's socio-semiotic theory and Foucault, Barthes, Bourdieu's views on the sign, discourse, and ideology. So in contrast to general semiotics, social semiotics mainly focuses on parole and the application of semiotic theories to some applicable fields. The article attempts to discuss this applicable sociosemiotics and show the features of it that differ from the Saussurian and Peircian semiotics in four aspects: 1) the sign system is about meaning-generation resource in the social context; 2) the sign system conforms to social and cultural changes with the form of metaphor and connotation; 3) sociosemiotics concerns about five applicable principles including the personal authority principle, non-personal authority principle, consistency principle, model demonstration principle, the expertise principle to deepen specific communication; 4) the study of symbolic functions is targeted to the characteristics of ideational, interpersonal and interactional function in social communication process. Then the paper describes six features which characterize this sociosemiotics as applicable semiotics: social, systematic, usable interdisciplinary, dynamic, and multi-modal characteristics. Thirdly, the paper explores the multi-modal choices of sociosemiotics in the respects of genre, discourse, and style. Finally, the paper discusses the relationship between theory and practice in social semiotics and proposes a relatively comprehensive theoretical framework for social semiotics as applicable semiotics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=discourse%20analysis" title="discourse analysis">discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=sociosemiotics" title=" sociosemiotics"> sociosemiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=pragmatics" title=" pragmatics"> pragmatics</a>, <a href="https://publications.waset.org/abstracts/search?q=ideology" title=" ideology"> ideology</a> </p> <a href="https://publications.waset.org/abstracts/91226/discourse-analysis-and-semiotic-researches-using-michael-hallidays-sociosemiotic-theory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91226.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">351</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> Selfie: Redefining Culture of Narcissism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Junali%20Deka">Junali Deka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> “Pictures speak more than a thousand words”. It is the power of image which can have multiple meanings the way it is read by the viewers. This research article is an outcome of the extensive study of the phenomenon of‘selfie culture’ and dire need of self-constructed virtual identity among youths. In the recent times, there has been a revolutionary change in the concept of photography in terms of both techniques and applications. The popularity of ‘self-portraits’ mainly depend on the temporal space and time created on social networking sites like Facebook, Instagram. With reference to Stuart’s Hall encoding and decoding process, the article studies the behavior of the users who post photographs online. The photographic messages (Roland Barthes) are interpreted differently by different viewers. The notion of ‘self’, ‘self-love and practice of looking (Marita Sturken) and ways of seeing (John Berger) got new definition and dimensional together. After Oscars Night, show host Ellen DeGeneres’s selfie created the most buzz and hype in the social media. The term was judged the word of 2013, and has earned its place in the dictionary. “In November 2013, the word "selfie" was announced as being the "word of the year" by the Oxford English Dictionary. By the end of 2012, Time magazine considered selfie one of the "top 10 buzzwords" of that year; although selfies had existed long before, it was in 2012 that the term "really hit the big time an Australian origin. The present study was carried to understand the concept of ‘selfie-bug’ and the phenomenon it has created among youth (especially students) at large in developing a pseudo-image of its own. The topic was relevant and gave a platform to discuss about the cultural, psychological and sociological implications of selfie in the age of digital technology. At the first level, content analysis of the primary and secondary sources including newspapers articles and online resources was carried out followed by a small online survey conducted with the help of questionnaire to find out the student’s view on selfie and its social and psychological effects. The newspapers reports and online resources confirmed that selfie is a new trend in the digital media and it has redefined the notion of beauty and self-love. The Facebook and Instagram are the major platforms used to express one-self and creation of virtual identity. The findings clearly reflected the active participation of female students in comparison to male students. The study of the photographs of few selected respondents revealed the difference of attitude and image building among male and female users. The study underlines some basic questions about the desire of reconstruction of identity among young generation, such as - are they becoming culturally narcissist; responsible factors for cultural, social and moral changes in the society, psychological and technological effects caused by Smartphone as well, culminating into a big question mark whether the selfie is a social signifier of identity construction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Culture" title="Culture">Culture</a>, <a href="https://publications.waset.org/abstracts/search?q=Narcissist" title=" Narcissist"> Narcissist</a>, <a href="https://publications.waset.org/abstracts/search?q=Photographs" title=" Photographs"> Photographs</a>, <a href="https://publications.waset.org/abstracts/search?q=Selfie" title=" Selfie"> Selfie</a> </p> <a href="https://publications.waset.org/abstracts/33031/selfie-redefining-culture-of-narcissism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33031.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">407</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Renegotiating the Filipino Bakla Culture: A Semiotic Analysis of Drag Performance in Eat Bulaga’s Kalye Serye</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruepert%20Jiel%20Cao">Ruepert Jiel Cao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study explores the renegotiation of bakla culture in Philippine media in the context of Kalye Serye segment of the popular Filipino noontime variety show Eat Bulaga. Although the term “bakla” is usually translated to “gay” or “homosexual male” in English, they do not mean the same. The western notion of a gay refers to a male person attracted to another male person but still retains the masculine physical attributes. However, the bakla embodies loudness, femininity, and transvestitism. Hence, a bakla is a gay man aspiring to be a woman by assuming feminine actions and appearance, a definition much closer to a transgender. The Philippine media usually employs the bakla culture in comedy programs. The bakla nowadays is usually associated with the people of lower economic strata and carries a pathological connotation. The Filipino television program Eat Bulaga, which has been airing for more than 36 years, is fond of using bakla in comedy. However, the recently launched segment entitled Kalye Serye (literally “Street [Television] Series”), while still employing drag performance to incorporate bakla culture in comedy, renegotiates the bakla culture by deviating from the stereotypical notion of bakla. In this study, this researcher asks: (1) How does Kalye Serye renegotiate the Filipino concept of bakla in terms of economic aspirations and social norms? (2) How does Kalye Serye reappropriate the bakla culture to fit non-comedic performances? The study examines 15 purposively selected Kalye Serye episodes. Seven were selected from the Thursday episodes, seven from Saturday episodes, and the Lenten special episode. These were selected to cover as many characters and different character roles as possible. Data was constructed by identifying and coding the roles, physical appearance and gestures, and key dialogs of the characters. A total of six female characters played by three different male actors were examined. Semiotic analysis using semiotics of Roland Barthes was performed to produce a reading of the characters. Findings show that through physical appearance, the characters associate bakla with the economic affluence through the use of expensive-looking clothes, jewelries, cars, and elaborate gestures. This represents a new economic but old western aspiration of the bakla. In terms of social norms, the characters try to revive the traditional concepts of femininity, courtship, and respect, values which are touted to be lost in the current generation of Filipinos. This is quite ironic because while there is a seemingly tolerant attitude towards all forms of queerness, the bakla is considered immoral and yet, the bakla is used to teach about morality and values. Finally, the characters break the traditional association of the bakla with slapstick comedy and their roles are reappropriated to suit dramatic roles. By refraining from portraying the bakla in ridiculous manner (physically and in terms of roles), the bakla lends itself well in the performance of dramatic roles and their ridiculous and pathological associations removed. Future research may include other Filipino or Asian portrayals of queerness to get a better understanding of how queerness is incorporated in contemporary popular culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bakla" title="bakla">bakla</a>, <a href="https://publications.waset.org/abstracts/search?q=drag%20performance" title=" drag performance"> drag performance</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture" title=" popular culture"> popular culture</a>, <a href="https://publications.waset.org/abstracts/search?q=queer%20representation" title=" queer representation"> queer representation</a> </p> <a href="https://publications.waset.org/abstracts/54604/renegotiating-the-filipino-bakla-culture-a-semiotic-analysis-of-drag-performance-in-eat-bulagas-kalye-serye" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54604.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">297</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); 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