Images and history Research Papers (original) (raw)

Campo de intersecção de pintura e fotografia, cinema e vídeo, arquitetura e urbanismo. Horizonte saturado de inscrições, depósito em que se acumulam vestígios arqueológicos, antigos monumentos, traços de memória e o imaginário criado pela... more

Campo de intersecção de pintura e fotografia, cinema e vídeo, arquitetura e urbanismo. Horizonte saturado de inscrições, depósito em que se acumulam vestígios arqueológicos, antigos monumentos, traços de memória e o imaginário criado pela arte contemporânea. Esse cruzamento entre diferentes espaços e tempos, entre diversos suportes e tipos de imagens, é que constitui a paisagem das cidades.

El 14 de diciembre de 2016, la Fundación Espinosa Rugarcía, I.B.P. (ESRU) recibió en comodato parte de la colección fotográfica del estudio Foto Azul, de la ciudad de Puebla. Foto Azul funcionó entre 1935 y 1984, en la calle Cinco de Mayo... more

This paper aims to discuss the images of communist figures in Post-Suharto 1965 fictional narratives. Images of communists or alleged-communists appeared in many books and films produced under the Suharto regime as villains and atheists,... more

This paper aims to discuss the images of communist figures in Post-Suharto 1965 fictional narratives. Images of communists or alleged-communists appeared in many books and films produced under the Suharto regime as villains and atheists, antagonists of the nation who deserved to be jailed and killed. This paper, applying the descriptive-qualitative method and new historicism as theoretical framework, unpacks these infamous, stereotypical images of communists and alleged-communists and juxtaposes them with their counterparts in Post-Suharto 1965 fictional narratives. The end of the Suharto regime, which brought freedom of speech, enabled some victims of post-1965 tragedy (mostly ex-political prisoners) and their descendants to articulate a counter-culture and write other version of historiography. One of these authors is Gunawan Budi Susanto, who wrote a 1965 short story collection titled Penjagal Itu Telah Mati (The Slaughterer Has Died) (2015). Susanto's stories challenge New Order's images of communist or alleged-communist figures, depicting most of them as good citizens. While images of communist figures are not as stable and absolute as what the New Order constructed, they remain contested in the unfinished historiography.

Chapitre 8 de la thèse de doctorat de Bruno Restif, soutenue en décembre 2004 à l'Université Rennes 2 Haute-Bretagne sous la direction d'Alain Croix : La Paroisse, cadre d'application de la Réforme catholique en Haute-Bretagne (diocèses... more

Chapitre 8 de la thèse de doctorat de Bruno Restif, soutenue en décembre 2004 à l'Université Rennes 2 Haute-Bretagne sous la direction d'Alain Croix : La Paroisse, cadre d'application de la Réforme catholique en Haute-Bretagne (diocèses de Rennes, Dol et Saint-Malo). Histoire d'un processus de transformation religieuse et culturelle (XVIe et XVIIe siècles). Titre du chapitre 8 : Les dévotions : évolutions et permanences.

En “Emblemas, alegorías y otras imágenes del poder. Historias de éxito y fracaso”, quisiéramos proponer un acercamiento en torno a la lectura de imágenes a través de las claves hermenéuticas “éxito-fracaso” (Rocco-Lozano, 2020).... more

En “Emblemas, alegorías y otras imágenes del poder. Historias de éxito y fracaso”, quisiéramos proponer un acercamiento en torno a la lectura de imágenes a través de las claves hermenéuticas “éxito-fracaso” (Rocco-Lozano, 2020). Realizaremos un ejercicio descriptivo y metodológico de indagaciones libres de imágenes sobre los temas “nave” y “mar” en las alegorías del triunfo de la Iglesia católica en su expansión por el mundo, centrándonos, principalmente, en la alegoría atribuida al autor Miguel Jiménez, “El triunfo de la iglesia” (el vaso de la contemplación mística) del siglo xviii (Museo Nacional del Virreinato, Tepotzotlán). Esto nos ha guiado por diversos caminos investigativos y, sobre todo, se ha constituido como una cantera abierta de profundización que no pretende una aproximación teórica, sino más bien de posibilidades metodológicas alimentadas por los estudios de la imagen, la iconología y las trayectorias teóricas de la historia del arte y su profundidad de campo que nutren muchas de las disciplinas humanísticas. Al mismo tiempo, nombres relevantes como Aby Warburg, Erwin Panofsky, Ernst Gombrich, Michael Baxandall, Roberto Longhi, Carlo Ginzburg, Svetlana Alpers, Linda Nochlin, Susan Sontag, Ann Sutherland Harris y Jaynie Louise Anderson, entre otros (Burucúa, 2003), han marcado muchas de las reflexiones sobre las imágenes y el arte en los siglos xx y xxi y nos han ayudado a aproximarnos a los usos e interpretaciones de las imágenes.

Durante la Segunda República, la mujer pudo acceder al espacio público que, hasta el momento, le estuvo prohibido. Sufragio, divorcio, acceso a estudios superiores, aborto…todo ello favoreció y alimentó el nacimiento del feminismo. Cuando... more

Durante la Segunda República, la mujer pudo acceder al espacio público que, hasta el momento, le estuvo prohibido. Sufragio, divorcio, acceso a estudios superiores, aborto…todo ello favoreció y alimentó el nacimiento del feminismo. Cuando la guerra estalla -contradictoriamente- un viento de libertad soplará en la España republicana en guerra, pues numerosas mujeres, indiferentemente de su clase social, serán protagonistas del conflicto. En un primer momento, muchas integraron las milicias populares, creadas en la urgencia por diferentes partidos políticos o sindicatos para defender el gobierno legítimo de la Republica. Pero a partir del invierno de 1936, un decreto impuso la conversión de las milicias en un ejército oficial en el cual las mujeres no tenían cabida. Los carteles republicanos se muestran como un verdadero apoyo para la propaganda política que intentará convencer a la mujer que su lugar se encuentra en la retaguardia. Estos carteles resultan reveladores de la visión que se tenía de las mujeres durante la guerra. Me propongo en este artículo mostrar cómo la mujer pasa de heroína de guerra à prostituta portadora de enfermedades.

La imagen religiosa es el terreno común en el que convergen los estudios reunidos en este volumen. Lejos de verse como exclusivo patrimonio de los historiadores del arte, el estudio de las imágenes sagradas en el mundo hispánico se... more

La imagen religiosa es el terreno común en el que convergen los estudios reunidos en este volumen. Lejos de verse como exclusivo patrimonio de los historiadores del arte, el estudio de las imágenes sagradas en el mundo hispánico se plantea aquí en la intersección de dos campos, el artístico y el religioso. Así, sin eludir la dimensión plástica y eventualmente artística de las representaciones, se incorporan también otros puntos de vista, otras metodologías de trabajo sumadas a las tradicionales del historiador del arte que, devolviendo las obras a su contexto ritual, permiten comprender su función estética como una dimensión esencial de su significado histórico.

While symbolic colour use has always played a salient role in science research and education, the use of colour in historic diagrams remains a lacuna within the history of science. Investigating the colour use in diagrams often means... more

While symbolic colour use has always played a salient role in science research and education, the use of colour in historic diagrams remains a lacuna within the history of science. Investigating the colour use in diagrams often means uncovering a whole cosmology otherwise not explicit in the diagram itself. The periodic table is a salient and iconic example of non-mimetic colour use in science. Famous is Andreas von Antropoff’s rectangular table of recurrent rainbow colours (1924); Alcindo Flores Cabral’s (1949) application of colour in his round snail form using the rgb scheme, Mazurs’ pine tree system (1967), speaking of warm and cold colours that he attributed to specific groups of elements – an attribution that we can relate back to humoralism and alchemy. From the first periodic tables in the 19th century on, individual researchers have used different colour regimes. While standardization may play an obvious role in chemistry and its diagrams, all the more impressive is the anarchistic use of colour in the respective diagrams up to today. This article focuses on periodical tables in chemical journals and text books and explores and compares the development of colour codes found in the few existing polychrome diagrams from the 1920s to the 1970s.

“Cultura visuale” è un’espressione oggi sempre più comune per indicare sia il complesso insieme dei fenomeni visivi che caratterizzano e determinano la vita delle persone, sia un ben definito ambito disciplinare che si afferma a partire... more

“Cultura visuale” è un’espressione oggi sempre più comune per indicare sia il complesso insieme dei fenomeni visivi che caratterizzano e determinano la vita delle persone, sia un ben definito ambito disciplinare che si afferma a partire dagli anni Novanta in Europa e negli Stati Uniti. All’interno di quest’ultimo, questioni antiche, come quelle dello sguardo e dell’agency delle immagini, oppure problemi nuovi, come quelli posti dalle sfide del presente digitale e mediale, trovano risposte originali, intrecciando saperi e metodologie provenienti da campi disciplinari diversi. Di questi temi, il libro, nei suoi cinque capitoli ricchi di illustrazioni, affronta i principali e, per certi versi, i più urgenti, resi tali da recenti fenomeni storici e sociali: la documentalità, l’autorappresentazione, il rapporto fra immagine e corpo, le forme della creatività digitale, la vitalità delle immagini. Obiettivo del progetto rivolto principalmente a studenti di entrambi i livelli della formazione universitaria è, in particolare, la presentazione della rete di concetti, pratiche e approcci che definiscono lo studio del visivo, per offrire al lettore un sapere (questioni, sfondi, metodi) e un saper vedere (l’oggetto immagine in quanto tale). Di qui, l’importanza accordata all’analisi delle produzioni visive più diverse (dall'arte al cinema, dalla fotografia alla realtà virtuale), sempre usate come punto di sviluppo e appoggio dell’argomentazione.

The ugra aspect of the devi is best characterised by her Mahishasuramardini image, which has been depicted in various ways over the centuries. The Vedic text such as Vajasaneyi Samhita, Taittiriya Aryanaka, Kena, Mundaka Upanishads,... more

The ugra aspect of the devi is best characterised by her Mahishasuramardini image, which has been depicted in various ways over the centuries. The Vedic text such as Vajasaneyi Samhita, Taittiriya Aryanaka, Kena, Mundaka Upanishads, Sankhayana grihasutras mention Durga in her various forms; the soumaya (quiet/placid) forms among them being that of Gauri, Parvati, etc. Her fiercer aspects are named as Kali and Karali (same as the two names of the seven tongues ascribed to Agni, Rudra), Chandi, Chamundi, and the Nava Durgas. The Nava Durgas are named as Ugra Chanda, Prachanda, Chandanayika, Chandogra, Chandavati, Chanda, Ati Chandika, ChandraRupa, and Rudra Chanda. The Devi’s motherly aspect prevalent as the Mother Goddess from pre-historic times is well represented in her Shakambari ruup (MarkandyaPurana), also beautifully expressed in the worship of the Navapatrika during the ashwin (autumnal) Durga puja in Bengal. Among the principal murtis of the Devi worshipped by the Saktas is her form: Durga-Mahishasuramardini. The article explores through photos some of the Mahishasuramardini images found over the ages in India and Java

Comprendre la place et le rôle des images dans l'analyse des relations internationales implique de rompre avec une forme d'analphabétisme visuel, entretenu par les systèmes éducatifs qui refusent de prendre au sérieux ces images, tout... more

Comprendre la place et le rôle des images dans l'analyse des relations internationales implique de rompre avec une forme d'analphabétisme visuel, entretenu par les systèmes éducatifs qui refusent de prendre au sérieux ces images, tout comme cela a longtemps été le cas pour les sciences sociales, ou encore des travaux récents. Comment passer d'images multiples qui "ne disent rien", à un appareil méthodologique capable de les prendre en charge et de les intégrer dans une problématique de science politique ?

Автор рассматривает тему на материале 1960х-2010х годов, приходя к выводу, что в советском научно-фантастическом кинематографе (в отличие от западного) тема Нашествия из Космоса практически не разрабатывалась; доминирующую позицию... more

Автор рассматривает тему на материале 1960х-2010х годов, приходя к выводу, что в советском научно-фантастическом кинематографе (в отличие от западного) тема Нашествия из Космоса практически не разрабатывалась; доминирующую позицию занимала тема Контакта, более или менее успешного, с другой цивилизацией. Изменение парадигмы произойдет в момент распада СССР: появление на экранах враждебных пришельцев извне можно связать с социальным и идеологическим кризисом, переживаемым советским обществом; более заметным становится и влияние западного кинематографа, начавшего разрабатывать эту тему на несколько десятилетий раньше. Автор прослеживает дальнейшее развитие темы Нашествия в 1990е-2010е годы и связывает его с изменениями в структуре и идеологии постсоветского общества - прежде всего, с ощущением перехода собственной цивилизации от движения "вверх" к стагнации и незащищенности от внешних политических и культурных воздействий. Последние работы отечественных кинематографистов, разобранные автором, сочетают элементы двух вариантов взаимодействия цивилизаций - унаследованной от советского периода модели диалога/Контакта и "новой" темы военного конфликта/Нашествия, принимающего все более и более апокалиптические формы. Автор заканчивает статью, обращая внимание на тревожные предостережения, которые можно заметить в последних отечественных фильмах: сомнения их авторов в возможности мирного разрешения как внутренних, так и внешних проблем общества; искушение глобального применения военного насилия во встрече с "чужими".

In the 1630s, Alessandro Sforza distinguished with crowns several Marian images ‘venerated for antiquity and miracles’, including Michelangelo’s Vatican Pietà, carved c. 1500. It was crowned in 1637, although there is no record of any... more

In the 1630s, Alessandro Sforza distinguished with crowns several Marian images ‘venerated for antiquity and miracles’, including Michelangelo’s Vatican Pietà, carved c. 1500. It was crowned in 1637, although there is no record of any miracles believed to have been worked by it. The contention of this paper is that three reasons might have contributed to the crowning of the Vatican Pietà: its reputation as a devotional image, its connection with an artistic rather than religious notion of miraculousness, and its relationship to other Marian images venerated in the Vatican Basilica (above all, the Madonna della Febbre, crowned in 1631).

Pratique et culture de l’écriture dans la Moldavie d’Étienne le Grand L’auteur remarque que la classification des sources écrites sous le règne d’Étienne le Grand (1457–1504) du point de vue de l’origine, de l’objet, du contenu ou de la... more

Pratique et culture de l’écriture dans la Moldavie d’Étienne le Grand
L’auteur remarque que la classification des sources écrites sous le règne d’Étienne le Grand (1457–1504) du point de vue de l’origine, de l’objet, du contenu ou de la forme – utilisée jusqu’à aujourd’hui – n’est pas tout à fait satisfaisante. Par conséquent, elle propose une autre classification: 1. Écrire pour Dieu (les manuscrits religieux; les obituaires; les citations des textes liturgiques accompagnant les inscriptions des objets et des broderies; les inscriptions explicatives des fresques, des miniatures, des pièces d’orfèvrerie, des tissus et des sculptures en bois); 2. Écrire pour des raisons pratiques (les chartes princières; les actes des boyards et des hiérarques; les documents des villes; une seule lettre privée; les manuscrits juridiques; les inscriptions de possession sur les objets personnels); 3. Écrire pour garantir l’authenticité (les légendes des monnaies; les légendes des sceaux); 4. Écrire pour préserver la mémoire (les chroniques; les colophons des manuscrits; les inscriptions funéraires; les inscriptions en pierre; les inscriptions en métal; les inscriptions sur des tissus liturgiques; une seule inscription peinte; les inscriptions sur des pots en céramique). Le nombre de ceux qui écrivaient n’était pas égal au nombre de ceux qui lisaient. Les auteurs des divers types d’écriture étaient, d’une part, les lettrés laïques ou ecclésiastiques qui ont composé les chroniques et, d’autre part, tous ceux qui copiaient les manuscrits, rédigeaient les documents, gravaient, brodaient, peignaient, incisaient, sculptaient. Seulement ceux de la première catégorie étaient en même temps des créateurs; les autres suivaient des modèles. Le contenu des manuscrits religieux de cette époque n’a pas été analysé d’une manière approfondie, donc on ne peut pas savoir dans quelle mesure leurs rédacteurs étaient des érudits ou bien de simples artistes qui copiaient mécaniquement un texte (quasi pictores). Pour les artisans expérimentés, peindre, graver, broder ou sculpter une inscription n’impliquait pas la connaissance d’une langue ou d’un alphabet. Dans ce cas, il faut aussi admettre l’utilisation des modèles qui étaient copiés avec fidélité. La tentative d’identifier dans les sources du temps ceux qui ont composé ou ont simplement reproduit un texte est très difficile. Les recherches ont relevé les noms de seulement 25 copistes des manuscrits et un peu plus de 30 scribes de chancellerie. Des détails prosopographiques n’existent que pour quelques-uns d’entre eux. Les textes eux-mêmes ne dévoilent pas des détails sur leurs auteurs ou rédacteurs. Une petite partie des écritures de l’époque était destinée à la lecture des contemporains. Certains textes s’adressaient à des éventuels lecteurs de l’avenir, censés être intéressés par des personnes et des choses du passé, d’autres avaient Dieu lui-même comme destinataire. Lettrés n’étaient que ceux qui en avaient besoin: les prêtres des monastères, quelques fonctionnaires de l’administration centrale et locale, quelques artisans, marchands et membres des communautés catholiques des villes. Des notaires publics n’existaient pas. Puisque ni le prince, ni aucun fonctionnaire ne signaient les chartes, il est impossible d’apprécier leur niveau d’instruction. L’écriture répondait exclusivement aux besoins sociaux et non personnels. Dans un monde dominé par l’oralité, la communication s’est matérialisée plutôt dans l’image que dans le texte, peut-être parce que l’accès au message transmis par les images a été toujours plus facile. Pour la grande masse analphabète, l’écriture devait avoir une dimension mystique et mystérieuse, parce qu’elle n’était familière qu’à un petit nombre d’initiés. À l’époque d’Étienne le Grand, le texte écrit était perçu par ses caractères extérieurs. L’aspect, que tout le monde percevait, était plus important que le contenu, que les gens ne comprenaient pas sans l’aide des lettrés capables de le lire. La matérialité du texte le rendait palpable, crédible et incontestable, le passait de l’abstrait au concret. Les supports précieux suggéraient l’idée de majesté, de puissance, de prestige et de richesse. Entourés par l’écriture, dont l’autorité était reconnue et respectée, les habitants de la Moldavie, dans leur écrasante majorité, vivaient en réalité en dehors de sa civilisation.

Comparing the imagery of pottery workshops on ancient Greek vases illustrates much about the methods of making, painting and firing the pots as well as some of the social activity that transpired during all of these processes. This paper... more

Comparing the imagery of pottery workshops on ancient Greek vases illustrates much about the methods of making, painting and firing the pots as well as some of the social activity that transpired during all of these processes. This paper focuses on the depictions of pottery workshops, potters and vase-painters on ancient Greek vases. It also serves as a compilation of the major images and theories that have been presented in books and journals to 1990. This study is organized to follow the stages of pottery making as they are shown on the vases. Most of the published images on ancient Greek pottery making are presented here, except for a few redundant images that have been omitted.

La fotografía es un trazo químico del pasado, la historia embalsamada, el tiempo resucitado. John Mraz, "De la fotografía histórica. Particularidad y nostalgia" … las imágenes nos permiten 'imaginar' el pasado de un modo más vivo. Como... more

La fotografía es un trazo químico del pasado, la historia embalsamada, el tiempo resucitado. John Mraz, "De la fotografía histórica. Particularidad y nostalgia" … las imágenes nos permiten 'imaginar' el pasado de un modo más vivo. Como dice el crítico Stephen Bann, al situarnos frente a una imagen nos situamos "frente a la historia" Peter Burke, Visto y no visto Ver imágenes supone una habilidad y una voluntad para interpretar marcas sobre un papel [o sobre otra superficie] como representaciones que simplifican un aspecto de la realidad dentro de reglas aceptadas Michael Baxandall, Pintura y vida cotidiana en el Renacimiento. Arte y experiencia en el Quattrocento Pero si su exterior es solemne y en ocasiones frío, acercaos a su alma y sondead sus misterios… ¡Fantasmas amables que nos permitís saludaros! ¡Tomad de nosotros, de nuestra comprensión balbuciente, de nuestra torpeza humilde, que quiere despabilarse; de nuestra intuición vigilante, la chispa leve, pero efusiva, que se enciende en la mirada y que ha nacido ante la revelación de vuestra gracia! Enrique Fernández Ledesma, La gracia de los retratos antiguos

More than 20 years after presenting his first interpretation of the mosaic from the House of Aion in a paper entitled “Uwagi na temat mozaiki z Domu Aiona w Nea Paphos (Cypr)” (Meander 9/10, 1987, p. 421-438, in Polish, and translated to... more

More than 20 years after presenting his first interpretation of the mosaic from the House of Aion in a paper entitled “Uwagi na temat mozaiki z Domu Aiona w Nea Paphos (Cypr)” (Meander 9/10, 1987, p. 421-438, in Polish, and translated to English: « The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory [in Connection with the Interpretation of the Mosaic from the “House of Aion” at Paphos in Cyprus]»), where he proposed reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; 3. The Dionysian thiasos; 4. Apollo and Marsyas; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception and ending with the liberation of the soul and its apotheosis, the author now enhances his initial interpretation with numerous reflections concerning the historical context of this work of art, created in the years 320-360.
If, according to the author, the mosaic is a “Hymn” in honour of the pagan gods, Man (his soul) and his place in the (pagan) universe, then at the same time it polemicises with the Christian faith and its God, Jesus Christ.
The author puts forward numerous new solutions relating to the mosaic’s iconography and iconology. Analysis of the mosaic also leads him to propose a solution to the as-yet unanswered question regarding the absence of images of the crucified Christ in Christian art of the 3rd and 4th centuries, up until 420/430, when the first images of Christ on the cross appear.
CONTENTS:
Introduction
1. Research to-date (recap)
2. Description of mosaic (recap)
2.1. Composition of five mythological scenes
2.2. Brief iconographic description of mythological panels
2.3. Outline of individual iconographic elements and their respective roles
2.4. The pagan gods’ air of majesty and dignity as an expression of piety
3. A few words about the pagan reaction
4. An apology of pious human life according to pagan principles and a polemic on the Christian model of Man and his theological idol, Jesus Christ
4.1. Divine intervention in the act of human conception (allusion to/polemic on the Annunciation to the Virgin Mary)
4.2. The Epiphany of Dionysus (an allusion to the Epiphany of Christ – Theou Pais)
4.3. The procession and dissemination of Dionysian order (allusion to/polemic on Christ’s entry into Jerusalem)
4.4. The error of Marsyas (polemic on/allusion to the error of Jesus the Messiah): arrest, sentencing for arrogance and lack of piety (asebeia) and condemnation to a martyr’s death
4.5. The anabasis (or anagoge psyches) of a ‘beautiful soul’ (allusion to/polemic on the Ascension of Christ)
5. A few words on the mosaic programme prior to final conclusions
Final conclusions
Key words: mythological mosaic, House of Aion, Nea Paphos, Late Antiquity, Roman art, allegorical narrative, allusive language of mythological pictures, wordplay (Marsyas-Messias), Jesus Christ, anti-Christian polemic, Dionysos, Cassiopeia, Apollon, Nereides, Abstract Personifications, Greek Mythology, ΚΥΠΡΟΣ

Bruxelles, Editions de l'Université de Bruxelles, collection "Problèmes d'histoire des religions" (Alain Dierkens dir.) Contributors : Eduardo H. Aubert, Jérôme Baschet, Gil Bartholeyns, Jean-Claude Bonne, Elisa Brilli, Brigitte... more

Bruxelles, Editions de l'Université de Bruxelles, collection "Problèmes d'histoire des religions" (Alain Dierkens dir.)
Contributors : Eduardo H. Aubert, Jérôme Baschet, Gil Bartholeyns, Jean-Claude Bonne, Elisa Brilli, Brigitte d'Hainaut-Zveny, Pierre-Olivier Dittmar, Corneliu Dragomirescu, Thomas Golsenne, André Gunthert, Valentine Henderiks, Pierre Lagrange, Chloé Maillet, Irène Rosier Catach, Bertrand Rougé, Jean-Marie Sansterre, Jean-Claude Schmitt, Jean Wirth.

Cz a s o p i s m o z a ł o ż o n e p r z e z Ja n a Bi a ł o s t o C k i e g o re d a k C J a Grażyna Jurkowlaniec

Determined to show that the humanist model of art history hierarchizes and excludes the subject’s matter, Georges Didi-Huberman resorts to the ideas about history presented by Walter Benjamin. The German thinker distrusts the purpose of... more

Determined to show that the humanist model of art history hierarchizes and excludes the subject’s matter, Georges Didi-Huberman resorts to the ideas about history presented by Walter Benjamin. The German thinker distrusts the purpose of the historian who rationalizes the facts, explaining them through causality and motivations, and often emphasizing the progressive character of the historical process. The possibilities of reading the past are based, here, on the perception of an afterlife of the past, and not on historical continuity, the conception rethink, in our text, the relationship between the German thinker and the french art historian

The transept is a very common feature in churches of the 11 th and 12 th centuries. This crosswise axis is added to, or even substitutes the longitudinal axis of church. It is the case in Saint-Sernin of Toulouse. There, for more than one... more

The transept is a very common feature in churches of the 11 th and 12 th centuries. This crosswise axis is added to, or even substitutes the longitudinal axis of church. It is the case in Saint-Sernin of Toulouse. There, for more than one century, the faithful and the clerics were satisfied with only the eastern part of the edifice. The church, perfectly bipartite because limited to the transept, corresponds exactly to the society which it gathers: a society both one and divided in its orders, composed by the clerics and the laymen. At Autun, even if the church is not limited to the transept, this one constitutes nevertheless the preponderant component, as the centre of devotion for the pilgrims. In either case, the image plays an essential role in the definition of the spaces: at Toulouse, it indicates the places reserved to each of both communities, informing on their functions and prerogatives. At Autun, the images serve as bearings to paraliturgical celebrations. Engraved in the stone, it is also the signature of the maître d'oeuvre, a reminder and a commemoration of his initiative.

Nos últimos anos, a imagem se tornou um dos temas teóricos em voga: dela não se fala apenas em termos de história da arte, mas também em termos sociológicos, de teoria das mídias e de filosofia política. Em uma de suas entrevistas... more

Nos últimos anos, a imagem se tornou um dos temas teóricos em voga: dela não se fala apenas em termos de história da arte, mas também em termos sociológicos, de teoria das mídias e de filosofia política. Em uma de suas entrevistas precedentes, a senhora menciona que na época em que o tema da imagem não estava tão na moda era preferível falar de semiologia, do "campo de especialidade que se desenvolve entre a filosofia e a gestão dos signos sociais", e que, durante o reinado da semiologia, a imagem era abordada em termos de leitura: "lia-se" as imagens. A senhora poderia indicar por que a semiologia da imagem finalmente perdeu seu crédito? O que supostamente a substitui no nível do pensamento contemporâneo da imagem?

MANIFESTO DELLA RIVISTA Nel corso della sua storia, iniziata nel 1999, "La Valle dell'Eden" è andata incontro a cambiamenti importanti, che ne hanno modificato in più di un'occasione fisionomia editoriale e progetto culturale. Ciò è... more

MANIFESTO DELLA RIVISTA Nel corso della sua storia, iniziata nel 1999, "La Valle dell'Eden" è andata incontro a cambiamenti importanti, che ne hanno modificato in più di un'occasione fisionomia editoriale e progetto culturale. Ciò è avvenuto parallelamente ad una crescita considerevole dell'editoria nel settore dei Film e Media Studies, che ha portato la nostra rivista da una parte a tenere sempre vigile l'attenzione sulle trasformazioni e sulle nuove direzioni della ricerca in atto, dall'altra a mantenere salda la propria vocazione a fornire puntuali "stati dell'arte" su questioni teoriche e su periodi storici del cinema. In tutti i casi, non si è mai trattato di un semplice rinnovamento interno, ma di una risposta agli sviluppi disciplinari e culturali che hanno via via interessato gli ambiti del cinema, dei media e, più in generale, della produzione visiva e delle immagini. Il primo e principale obiettivo che "La Valle dell'Eden" si è posto e continua a porsi è infatti quello di essere uno strumento vivo, originale, aggiornato. Di qui, cinque anni fa, la decisione di ridisegnare sia l'impianto organizzativo, con quattro co-direttori appartenenti a tre diverse sedi universitarie (Torino, Pavia, Genova), un nuovo comitato scientifico e una nuova redazione, sia la linea editoriale, sempre più orientata a fare de "La Valle dell'Eden" un punto di riferimento per le studiose e gli studiosi italiani. Due numeri annuali, uno miscellaneo, uno monografico, traducono questa volontà offrendosi, rispettivamente, come uno spazio di incontro e dialogo tra le molte anime della ricerca, e un luogo di sintesi e aggiornamento di grandi questioni di carattere storico o teorico (la sceneggiatura, i self e gli Italian Studies, il postmoderno ecc.). All'interno di questo progetto, che continua nelle sue linee portanti, "La Valle dell'Eden" ha deciso oggi di cambiare ancora una volta pelle: un nuovo editore (Rosenberg & Sellier), un gruppo di lavoro parzialmente rinnovato a livello redazionale e, soprattutto, un nuovo progetto editoriale. A partire dal prossimo anno, infatti, la rivista comincerà a vivere una doppia vita: una cartacea e una digitale. Di carta, in particolare, continuerà a essere il numero monografico, cui potranno aggiungersi altre iniziative editoriali sganciate dalla periodicità della rivista; digitale, invece, sarà il miscellaneo. Ma la versione on-line di "La Valle dell'Eden", che debutterà all'inizio del 2022 con la pubblicazione del numero 38, nasce non come semplice "copia" digitale del numero miscellaneo cartaceo. L'idea è, da un lato, di accogliere dentro al numero miscellaneo una tipologia radicalmente nuova di contributi, ossia i video-saggi, che saranno sottoposti al medesimo processo di peer review come i convenzionali saggi scritti. Dall'altro, il numero miscellaneo sarà corredato da una nuova sezione, Short Cuts, che vorremmo alimentare in modo costate nell'intero arco dell'anno, e che ospiterà contributi più agili, non peer-reviewed: recensioni di

This paper deals with the Medieval sources concerning the relics worshipped in the Pharos Chapel, the private church of the Basileus in the Imperial Palace of Constantinople. It especially focus on an hitherto neglected source by Leo... more

This paper deals with the Medieval sources concerning the relics worshipped in the Pharos Chapel, the private church of the Basileus in the Imperial Palace of Constantinople. It especially focus on an hitherto neglected source by Leo Tuscus, a Pisan writer who made an accurate description of the church and witnessed the specific veneration for an image of the Mother of God "Oikokyra", perceived as supernatural defender of the Imperial House

Water, which played a major role in the development of civilizations throughout history, has been one of the important factors in the development of pool architecture. In this geography, it is understood that the architecture of the... more

Water, which played a major role in the development of civilizations throughout history, has been one of the important factors in the development of pool architecture. In this geography, it is understood that the architecture of the garden together with the pools showed a breakthrough.
In the Islamic architecture, the gardens, which emerged with the influence of previous civilizations and gradually became a vision of heaven, were built in various ways in Ottoman architecture.
In this study, pool depictions seen the manuscripts produced in the classical style of Ottoman miniature are evaluated in terms of space, plan, typology and relations with water and compared with different regional styles. Thus, the preferences of the Ottoman painters in the pool forms are examined.

Chapter in the book Beyond the Cold War: Soviet and American Media Images (eds. Everette Dennis, George Gerbner and Yassen Zassoursky), Sage. It provides analysis of the content of the two US and USSR weeklies that described the other... more

Chapter in the book Beyond the Cold War: Soviet and American Media Images (eds. Everette Dennis, George Gerbner and Yassen Zassoursky), Sage.
It provides analysis of the content of the two US and USSR weeklies that described the other country in comparison and in retrospective (1985, 1987 and 1989).

Creure a través dels ulls. Pintura i veritat en l'Espanya del segle xvii. .. .. .. .. .. .. .. Creer a través de los ojos. Pintura y verdad en la España del siglo xvii Believing through the eyes. Painting and truth in seventeenth-century... more

Creure a través dels ulls. Pintura i veritat en l'Espanya del segle xvii. .. .. .. .. .. .. .. Creer a través de los ojos. Pintura y verdad en la España del siglo xvii Believing through the eyes. Painting and truth in seventeenth-century Spain

The study focuses on the republican murals painted on the walls of two cities, Belfast and Derry, in May 2009. The idea for the study was born during a trip to Northern Ireland during which I had the opportunity to observe the murals and... more

The study focuses on the republican murals painted on the walls of two cities, Belfast and Derry, in May 2009. The idea for the study was born during a trip to Northern Ireland during which I had the opportunity to observe the murals and to talk with some of the authors and with persons who had actually experienced
the events represented in the murals.
The nationalist murals have been studied by the author under different perspectives: language, iconography, political symbolism and social environment. Murals are, for sure, the community’s reaction to the British political and violent domination on Northern Ireland and they become instruments of rebellion representing
a collective request for freedom and independence. But they also represent a more complex phenomenon as they embody values and perspectives of the entire nationalist community in Northern Ireland. The study analyses the murals both as single artworks and as a collective phenomenon.A strong focus is given at all the political and social themes represented in the murals and at the different linguistic and iconographic styles of communication
as well as how different themes and styles combine. The nationalist murals are also examined under an artistic perspective with a special focus on the figure of the “artista armato”, the artist as a warrior that uses art as an instrument for communicating higher, collective (moral, social, religious, political) values. This
perspective brings the author to draw and analyse a parallel between the phenomenon of nationalist murals and Futurist art: a comparison based on the themes represented in the artworks, on the placing of the art pieces and on the social role of the artists.
If words, pictures and colours used in the nationalist murals become, as analysed in the study, the voice of the Catholic community in Northern Ireland, a voice not so often listened in the EU, it becomes crucial to understand what the artists
want to communicate, why and how. This study aims also to open up to a new research perspective based on a multidisciplinary approach through the integrated use of semiotics and semantics in ethnography in order to offer a more complete and holistic interpretation of the phenomenon of the Northern Irish republican
murals.

Estudio de las imágenes, tanto laicas como sobre todo religiosas que, a partir del último cuarto del siglo XIV, comenzaron a llenar las casas valencianas, prestando especial atención a su naturaleza, uso, procedencia y distribución por el... more

Estudio de las imágenes, tanto laicas como sobre todo religiosas que, a partir del último cuarto del siglo XIV, comenzaron a llenar las casas valencianas, prestando especial atención a su naturaleza, uso, procedencia y distribución por el interior de los hogares, con un carácter marcadamente social.

This contribution represents the first attempt to provide a complete overview of the Renaissance works related to ancient clothing (de re vestiaria) composed between the mid-fifteenth and mid-seventeenth centuries. The structure, approach... more

This contribution represents the first attempt to provide a complete overview of the Renaissance works related to ancient clothing (de re vestiaria) composed between the mid-fifteenth and mid-seventeenth centuries. The structure, approach and method for each treatise are defined in order to demonstrate the evolutionary path of this phenomenon, which was particularly relevant to the cultural life of the time. Two case studies complete the present work, revealing the impact and various ramifications of this knowledge on the development of applied arts. The first concerns an exploration of the influence exerted on theatrical costumes in Italy by antiquarian studies through a comparison between the Poenulus directed by Tomaso Inghirami in Rome in 1513 and the Edipo Tyranno performed by the Accademia Olimpica in Vicenza in 1585. The second concerns an integrated analysis of the relationship between the works on ancient garments and the iconographic patterns of the fresco paintings at Fontainebleau in France, which could shed further light on the identity of iconographers of the Gallery of Francis I.

Athens, November 2015 Bibliography Abraham-Thisse Simonne, « Le commerce de draps à Bruges", in André Vandewalle (ed.), Les marchands de la Hanse et la banque des Médicis. Bruges, marché d'échanges culturels en Europe, Baelde M., "Les... more

Athens, November 2015 Bibliography Abraham-Thisse Simonne, « Le commerce de draps à Bruges", in André Vandewalle (ed.), Les marchands de la Hanse et la banque des Médicis. Bruges, marché d'échanges culturels en Europe, Baelde M., "Les possibilités d'enrichissement des cadres 'administratifs' aux anciens Pays-Bas (XVIe-XVIIIe siècles)," in Atti della Sesta Settimana di Studia 27/4-3/5/1974 (Florence 1978), p. 261-269. Baerten J., "Bruxelles, capitale d"un duché. Aspects politiques et économiques", in J. Stengers (ed.), Bruxelles, croissance d"une capitale,

A presente tese se propõe a desvendar parte do imaginário subversivo divulgado pelas páginas de determinadas publicações da imprensa anarquista e anticlerical espanhola, argentina e brasileira, entre os anos de 1897 a 1936, totalizando... more

A presente tese se propõe a desvendar parte do imaginário subversivo divulgado pelas páginas de determinadas publicações da imprensa anarquista e anticlerical espanhola, argentina e brasileira, entre os anos de 1897 a 1936, totalizando catorze publicações distintas. Assim, este estudo também comunga com os pressupostos da chamada história transnacional e demonstra, no seu desenrolar, que as publicações dessa imprensa alternativa, apesar das distâncias geográficas significativas e das dificuldades de manutenção que apresentavam, estavam em constante contato umas com as outras, estabelecendo laços de solidariedade, possibilitando a ampla circulação de artefatos culturais e, consequentemente, a constituição de um imaginário combativo e próprio. Imaginário esse que é forjado e aqui revelado através da observação de elementos centrais da arte de protesto: poesias, imagens e contos. Ao desvendar tal imaginário também se está tentando recuperar o percurso realizado por determinadas imagens, suas rotas de circulação e sua apropriação, permanência e alterações na referida imprensa. Com esses objetivos em vista, a tese se centrará na análise de duas temáticas principais para a criação e manutenção desse repertório imagético: o anticlericalismo e o evento datado do 1º de Maio, o qual se constitui na principal data do calendário dos trabalhadores e permite o estabelecimento de um universo simbólico próprio. É possível observar em cada temática a prevalência de certas ideias-imagens e sua constante repetição, permanência e relativa modificação, marcas essenciais de qualquer imaginário, seja esse subversivo ou hegemônico na sociedade, bem como o caráter de complementariedade existente entre o conteúdo textual e o conteúdo visual desse imaginário, uma vez que ambas dimensões discursivas se reforçam e reafirmam mutuamente.

Beginning with the theory of image governance, or the idea that images govern our interaction with reality, this study posits that witness operates as a governing image with unique governing characteristics. To understand these unique... more

Beginning with the theory of image governance, or the idea that images govern our interaction with reality, this study posits that witness operates as a governing image with unique governing characteristics. To understand these unique characteristics, contributions from nine disciplines and popular culture are woven together to construct a detailed moving image of witness based on how the term and other supporting terms are most often used in conversation, literature, art, and other media. Expressed in this moving image is the progression or series of movements occurring in time, space, and society which are implied by the term witness and supporting terms. Breaking up witness into this series of movements allowed a careful interpretation of the image and a detailed look into how the image governs reality, and especially how it governs communication. Analysis revealed a two-part progression: an event (which is experienced by a witness or witnesses) followed by the process of making that event public for a community—a relational process which involves the witness and the community in the shared work of producing public knowledge. This process, Event / Publication, was further broken into 24 sub-movements, each of which produced their own unique governing effects on reality and communication. Witness appeared as a complete act rather than as one of its many mistaken identities, such as law, trial, religion, advocacy, and protest. While these categories and many others play a role in witness, the image appearing in this study rejects these reductive explanations and instead incorporates them into the greater texture and diversity of witness as it has been used throughout history. Major contributions include the confirmation of abundant governing elements in images at close detail, a complete theoretical model of witness, greater insight into the subversive structure of witness, a revised early history of witness, and the use of behavioral science to challenge prevailing interpretations of witness. Major findings include the power of witness to draw assumed knowledge into the testimonial genre, as well as the absolute testimonial requirements of judgment, faith, mutual dependency, partial surrender of power, and nonviolence.