Browsing by Subject "semiotiikka"
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(2016)Gender is usually seen as a binary system which is divided into men and women. It is defined socially and within a society, it can be seen especially in the ways we dress ourselves. We connect through clothes to the gender we feel as our own and the differences between genders are essentials in how we dress. Drag is a form of theater which was born in the gay community. It consists of forming an illusion of a gender other than one's own. Camp is essential to drag. It is a style which is formed of contradictions, exaggeration, theatricality and irony. Drag queens represent and make parody of stereotypical feminine behavior and the way women dress. The goal of the study is to investigate the way drag queens dress and how their dress is related to gender. How does femininity appear in the way drag queens dress? How do drag queens play with gender stereotypes and how it can be seen in the way they dress? The data of the study consisted of nine photographs of drag queens. I collected the photographs from the Instagram accounts of the drag queens. I analyzed the data with an aesthetic-semiotic model that was based on the aesthetic analysis model by Marilyn DeLong (1998). The model had three stages, which were 1) the observation of the pictures as wholes, 2) the separation of the wholes into visual parts and 3) the interpretation of the wholes. Drag queens based their appearance on typical feminine features which were often exaggerated. Their appearance was also contradictory and ironic. Drag queens used the stereotypical image of women in the way they dress but their characters were not based only on that. They use femininity as a tool for self-expression. Outfits that are assembled with care are based on creating an illusion in which drag queens use recognizable feminine elements.
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(2016)In our society values and ideals are transferred partly by teachers and schools. The basic values of teaching are based on the definitions of the values in the Finnish national curriculum. Values can be transferred trough the behaviour of the teacher and the practices of the school. The transmission of values or the identification of one's own values are not always conscious. Especially the young people living in the modern media society are easily exposed to the environments information overload that contains discourses of values and ideals. Influencing the value transferring contents of media is not easy but influencing the values transferred by the schools and teachers is possible. It is important to study teachers and future teachers conceptions of values and ideals, so that we are able to have a better understanding of the transmission of values in schools. The aim of this study is to determine the internal and external values and ideals of the teacher students. Ideals were examined from the perspective of values. The study involved 22 teacher students who were either subject teachers or class teachers. The data were collected by e-form in the spring of 2015. The form contained three image interpretation assignments. Respondents were asked to search for pictures in accordance with the assignment and interpret them via three questions. The data consisted 66 images and 66 image interpretations. The data was analysed by content analysis and semiotic analysis. The content analysis was based on Schwartz value theory and the pictures were analysed with the concepts of semiotic theory. Through the text data I was able to determine student teachers internal values. Their internal values centered on social, aesthetic, security and self-direction values. The external values determined from the image data emphasized the importance of youth, beauty, health and slenderness. It seems that the ideals and values of teacher students are similar than the values of the Finnish people in general but differ from the base values of the Finnish national curriculum. The results of the study can be used when planning teaching in schools. It is important to acknowledge that teachers' values and ideals differ from the Finnish national curriculum even though the values in the curriculum are meant to be the base of learning.
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Semioottinen analyysi hyvinvoinnista kotitalouden toiminnan tavoitteena Lassi ja Leevi -sarjakuvissa (2020)Tiivistelmä - Referat - Abstract Objectives. The aim of this study was to investigate how the goal of household activities; well-being, manifests itself in the comic series Calvin and Hobbes. The theoretical framework of the study examined the function of the household, well-being theories, and comics as part of culture. The research problems were structured using the components of Allardt's well-being theory: living standards, community relationships, and forms of self-realization. Previous research has shown that popular culture can be seen both as reflecting the world and as actively influencing the formation of perceptions of the world and ourselves. Perceptions of household activities are part of these processes. Methods. The material for the study consisted of Calvin and Hobbes, comics by Bill Watterson. Initially, the data was reduced according to the household view presented in the theoretical framework of the study. With the help of theory-driven content analysis, the material was further themed and delimited. The themes were cross tabulated with the components of Allardt’s well-being theory. The study material consisted of 26 strips. The analysis of comic narrative was performed using two parallel traditions of semiotics. An analysis by Peirce of the relationship of signs and objects, which represents pragmatic tradition, aided in revealing icons, indices, and symbols describing household activities from the strips. Using the actant model of Greimas, representing structuralist semiotics, the pictorial and verbal story presented in the comic strips was analyzed. Results and conclusions. Housework related to living standards was seen in the cartoon child’s eyes as annoying, boring, or to be avoided. On the other hand, housework represented care and love. Housework was mainly the responsibility of the mother of the cartoon family, so that the mother doing housework became an icon and a symbol of housework. In addition to everyday issues, the comic dealt with subjective matters of quality of life. Great stories were found in the cartoons about how the support of loved ones helped the child deal with difficult things and grow as a person. The members of the cartoon family longed for their own and shared time, as well as being valued, but these needs were not always met. The cartoon family could be defined using different family concepts. Looking at the standard of living, the family represented a familistic concept of the family. When describing relationships, the family instead acted as a team family. The manifestation of forms of self-realization was further characterized by an individualistic concept of the family. The conclusion of this study is that the comic series reflects housework as a producer of well-being, and an atmosphere of caring that covers all the areas of well-being
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(2020)The aim of this qualitative research was to study how colours are used in Finnish rya rugs and the semiotic meanings they communicate through the rugs. Throughout history, colours have played important and meaningful roles in textiles. This also applies to rya and it is seen as a significant aspect of Finnish rya tradition. The three dimensional texture of rya provides fascinating possibilities of colour usage. Rya is a Nordic craft technique that is traditionally seen as a wall hanging but it was originally used as an utility article rather than a decorative textile. It was only later that it was recognized as a valued art textile with its richness of colours. The current study was undertaken using semiotic visual analysis based on visual data on ryas. 48 secondary data was collected from the literature of this field. The artefacts were divided into three historical eras which were; decorative ryas (1779–1898), interior ryas (1899–1939) and art ryas (1940–1979). The analysis utilised a colour analysis framework developed by the researcher based on Itten’s seven colour contrast scheme and themes that emerged from the researcher’s own observation of the current study using ATLAS.ti. The framework can also be applied to other textiles colour research. Red ryas were most common in the beginning, after which beige and brown took over. In the latest era, after the Second World War blue emerged as a popular newcomer in addition to previously preferred red and brown. At first the colours were sharp, distinct, graphical and performative but colour usage most drastically changed in the latest era as the colours became increasingly artistic, free-formed and abstract. The colour areas grew larger and the hues became darker even though white was found increasingly. The early rya consisted of a high hue contrast which was notable as popularity in red-green complementary contrast combination became evident. Even though the hue contrast became more subdued later, the size of the hue chart became larger. The first era’s colours symbolized the owner’s social position and the power of church whereas in the mid era colours symbolized nationalism, modernization and the appreciation towards visual art. In the latest era, colours symbolized more, the designer’s artistic expression and psyche as well as upturn and advanced chemical industry after the war. The findings of this study indicate that colours were heterogenic and were clearly employed to represent the specific era and its cultural signifance in the society the item was made. The study is significant as it highlights the importance of colour in ryas as previous studies have paid much less attention to the aesthetics of colours.
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(2016)This thesis is a study of film costumes in The Great Gatsby movies. Earlier research has shown that film costumes have many meanings. They carry the story forward, build the characters and act as visual elements. A costume designer collaborates with other professionals such as a director and a scenographer to create the meanings of the film costumes. According to a movie research theory, there are four concepts of time in cinema: the time of the narrative, the time when the text that the film is based on was written or published, the time when the movie was completed and the audience ºs time. The research aims to describe how the 1920s (the time of the narrative and its writing) fashion is interpreted in two different remakes of The Great Gatsby. The objective of this thesis is also to analyse how the times when the movies have been made effect costumes. I analysed the sign language of the film costume in these two remakes using the semiotic and the aesthetic method. The primary data consisted of The Great Gatsby movies from 1974 and 2013 as well as F. Scott Fitzgerald ºs novel by the same title from the year 1925. As secondary data I used articles in which the movie creators were interviewed, and film reviews. In this thesis, the leading lady Daisy's costumes were analysed in three different scenes applying fashion photograph analysis and Henry Bacon's model of four motivations. In The Great Gatsby movies, the time of making the film is manifested especially in looseness or tightness of the costumes and their shape. Also in the accessories, hair and makeup you can see traces of the time when the movie was made. There were elements both the time of the story and the time when the movie was made. Film costumes are compromises between the fashion of the time of the narrative and the film's creation. The visual hints need to be subtle enough to make the costume believable in portraying the time of the story but new enough to be interesting to the audience. It is more important to create the feeling of the time of the narrative than to copy the fashion exactly. A movie's creators construct film costume, so ultimately it represents their style.
Now showing items 1-5 of 5