Please use this identifier to cite or link to this item: https://dspace.univ-ouargla.dz/jspui/handle/123456789/16071
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dc.contributor.authorABOUTALEB Khadidja-
dc.contributor.authorBOUARI Halima-
dc.date.accessioned2017-12-
dc.date.available2017-12-
dc.date.issued2017-12-
dc.identifier.issn1112-3672-
dc.identifier.urihttp://dspace.univ-ouargla.dz/jspui/handle/123456789/16071-
dc.descriptionRevue Al Atharen_US
dc.description.abstractSince it is often said that a picture is worth a thousand words, it is permissible to interpret it as a visual document. This later, according to the design of Plato or that of Michel Tardy, is considered as everything with a global meaning and seeking to be received by construction or by convention. As a set of signs, the image dictates an interpretative act that must be done in the same way as that granted to a written document. How we read, therefore, an image that it is advertising or a pictorial work? What approach (es) to adopt and how to speak the iconic language?en_US
dc.language.isofren_US
dc.relation.ispartofseriesnuméro 29 Déc 2017;-
dc.subjectvisual materialen_US
dc.subjectadvertising inserten_US
dc.subjectsemiotics of imageen_US
dc.subjectvisual semioticsen_US
dc.subjectmulti code discourseen_US
dc.subjectinterpretationen_US
dc.titlePour une lecture sémiotique de l’image :Cas d’un encart publicitaire et d’un tableau de Baya Mahieddine « Communiquer par l’image va nécessairement stimuler de la part du spectateur un type d’attente spécifique et différent de celui que stimule un message verbal »1en_US
dc.typeArticleen_US
Appears in Collections:numéro 29 2017

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