El estilo en la ilustración desde la semiótica cognitiva
Visual semiotics has not stopped particularly in the illustration and its style. To do so, it has been decided to take distance from the structuralist paradigm, to advocate for a proposal framed within what has been called cognitive semiotics. It is propose...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión aceptada para publicación |
| Fecha de publicación: | 2018 |
| País: | Colombia |
| Institución: | Universidad de Bogotá Jorge Tadeo Lozano |
| Repositorio: | Expeditio: repositorio UTadeo |
| Idioma: | español |
| OAI Identifier: | oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/8351 |
| Acceso en línea: | http://hdl.handle.net/20.500.12010/8351 |
| Access Level: | acceso abierto |
| Palabra clave: | Semiótica cognitiva Semiótica visual Semiótica -- Trabajos de grado Lingüística cognitiva Significación (Psicología) Cognitive semiotics |
| Sumario: | Visual semiotics has not stopped particularly in the illustration and its style. To do so, it has been decided to take distance from the structuralist paradigm, to advocate for a proposal framed within what has been called cognitive semiotics. It is proposed then: to make an approach to illustration as a practice of meaning; review some of the theories that have been developed around the style in the field of the theories of art and aesthetics, as well as some proposals that approach this concept from the computational, which will serve as a link to connect the cognitive semiotics with the illustration and his style, making a general presentation of the theories of cognitive semiotics, which were used for the realization of this work, particularly the theory of conceptual integration, with which, a case study is proposed: the work of the Colombian illustrator Julián Velásquez, based on a corpus of three illustrations. With the study of these images, it is intended to approach the way this illustrator could think to realize them, according to the purposes of representation and communication that he might have. Thus, it is proposed that the style in the illustration can be identified according to the way illustrators conceptualize in a particular way to carry out their work, depending on the purposes of communication and representation they may have. |
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