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Wagner, Christiane. „Esthétique : l'image contemporaine : l'analyse du concept de l'innovation“. Paris 1, 2013. http://www.theses.fr/2013PA010502.
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De nouvelles formes et contenus apparaissent comme processus de transformations qui impliquent les valeurs de l'ordre et les règles de chaque culture dans la construction de l'imaginaire collectif. Avec l'avènement de la société de classes, de nouvelles nonnes et de nouvelles conceptions, nous pouvons percevoir la stratification de la consommation, conditionnée à l'évolution technologique et aux principes esthétiques établis dans l'univers de la communication et de l'art. Suivie par le sens d'une innovation dans la configuration d'images qui définiraient le statut de l'individu contemporain. Néanmoins, seulement analyser les aspects de la créativité dans de nouvelles formes, en distinguant l'imagination de la fantaisie, la réalisation innovatrice, par laquelle la configuration des images se guiderait. Avec des raisons pratiques, pour lesquelles on fera attention aux attentes de la société serait-elle possible ?New forms and contents appear as transformation processes, which imply order values and rules of each culture in building social imaginary. With the advent of class society new standards and conceptions began to obey consumption stratification, conditioning technological evolution and aesthetical principles established in the universe of communication and art, followed by a sense of innovation in configuring images that would define contemporaneous individual's stature. However, only when one analyzes the aspects of creativity in new forms, differentiating imagination and fantasy, it would be possible the reach innovative realization, through which the image configuration guides itself, based on practical reasons to meet the social expectations
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El, Baramony Nermin. „Le design urbain et l'effet des facteurs culturels et sociaux : imagibilité orientale et occidentale : Le Caire et Marseille“. Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM1036.
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Les espaces urbains paupérisés, perdant leur identité culturelle et sociale, attirent des immigrés et leurs habitants ou usagers qui y ont un sentiment d'appartenance moindre, notamment parce que les projets de développement urbain sont rarement expliqués. Ainsi, il est nécessaire qu'une évaluation des facteurs orientant la perception des publics et de leurs espaces urbains soit établie : l'influence de la culture sur le type d'impression mentale généré par les zones urbaines et les élévations est indéniable dans nos études de cas, Marseille et Le Caire, comme elle l'est sur l'orientation de projets de développement urbain futur.La recherche propose de mettre en lumière l'influence des facteurs sociaux et culturels sur l'impression mentale que l'on peut avoir d'un espace urbain ? Alors, en étudiant « l'imagibilité » orientale et occidentale dans le contexte architectural et urbain, nous verrons, au-delà des similitudes des deux études de cas, Le Caire et Marseille, qu'il existe aussi une différence entre l'impression voulue et conçue par un spécialiste, que nous qualifions d'émetteur et celle perçue par son destinataire, le public, qu'il soit usager ou habitantThis subject of this thesis is “The Mental Image of Urban Areas”. It uses Cairo and Marseille as case studies. The research was fulfilled through an academic study of the historical development & urban growth of Cairo and Marseille. The aim was to identify the major elements forming of the mental image of the two cities. The researcher determined these elements through a historical and analytical study the urbanism and architecture of the two cities, with particular focus on downtown areas. Through a limited field study, conducted on a sample of residents in each city, the hypotheses developed by the researcher were tested to identify the important characteristics of the different mental impressions for both the eastern city (Cairo) and the western city (Marseille). As well as the social and cultural impacts, the researcher also identifies the physical elements of the mental impression the inhabitants have of the study areas
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Barnay, Oscar. „La photographie & le projet architectural : Penser l'image dans le processus créatif des architectes“. Electronic Thesis or Diss., Saint-Etienne, 2023. http://www.theses.fr/2023STET0043.
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Le projet est au cœur du processus de création des architectes. Pratique de conception par anticipation, le projet s’appuie par essence sur la production et la communication de formes de représentations diverses, variées et complémentaires. Parmi elles, la photographie tient une place particulière. Elle est omniprésente, à toutes les phases du projet, et elle est marquée par un singulier rapport de ressemblance au réel. Sa place dans la pratique des architectes demeure pourtant étrangement impensée, alors même que de nombreuses autres disciplines ont largement défriché le terrain.Cette thèse entend interroger la place de la photographie dans le processus créatif des architectes, questionner le rôle et l’impact des représentations dans le projet, ainsi que questionner la culture de l’image des architectes. Il s’agit autant de comprendre les usages existants, leur origine et leurs enjeux, que d’ouvrir de nouvelles pistes potentielles. Il s’agit avant tout de lever le voile sur les impensés entourant la place de la photographie et de l’image dans le projet architectural. À travers cette recherche émerge l’hypothèse d’une pratique du projet d’architecture abordé en tant qu’enquête, dans laquelle les pratiques de la photographie au sens large révèlent tout leur potentiel créatif et heuristique.Ce projet de thèse est mené en parallèle d’une pratique de création de l’auteur, qui fera l’objet d’une exposition au sein de laquelle la soutenance de la thèse prendra placeThe project is at the heart of the creative process of the architect. As a practice of anticipatory design, the project essentially relies on the production and communication of diverse, varied and complementary forms of representation. Among these, photography holds a special place. It is omnipresent, at every stage of the project, and is marked by a singular relationship of resemblance to reality. Yet its place in the practice of architecture remains strangely unexplored, even though many other disciplines have largely cleared the field. The aim of this thesis is to explore the place of photography in the creative process of architects, to examine the role and impact of representations in the project, and to question the image culture of architects. The aim is as much to understand existing uses, their origins and what is at stake, as to open up potential new possibilities. Above all, the aim is to lift the veil on the unthought-of issues surrounding the place of photography and of the image in the architectural project. Through this research, the hypothesis emerges of a practice of architectural design approached as an investigation/inquiry, in which the practices of photography in the broadest sense reveal all their creative and heuristic potential.This thesis project is being carried out in parallel with the author’s own creative practice, which will be the subject of an exhibition at which the thesis defence will take place
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Peña, López René. „Imaginaire mythographique et image publicitaire : les figures du métissage dans la publicité mexicaine“. Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL039.
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La mixité raciale, caractéristique de la physionomie et de la culture des Mexicains, est rarement représentée dans la publicité de ce pays. La recherche proposée ici aborde le métissage biologique et culturel, en tant que figure sensible au sein de l'imaginaire, l'imagerie et plus particulièrement l'affiche publicitaire au Mexique. Cela procède d'une grille de significations constitutives d'un système d'identités collectives. Il faut, pour comprendre ce système, revenir aux origines des stéréotypes et des isotopies visuelles contribuant à maintenir un point de vue dépréciateur sur la population métisse à travers le langage mythographique de la publicité. Dans une perspective multidisciplinaire, sous l'obédience des sciences de l'information et de la communication, sont étudiées aussi les entités et les moyens de communication ayant contribué, dès la colonisation du Mexique au XVIe siècle, au renouvellement des croyances exprimant le rejet des personnes métisses et indiennes. La prééminence du verbal, imposée souvent comme une forme de rationalité à l'étude des langages figuratifs, rend particulièrement complexe l'étude du rapport entre l'écriture des images et l'imaginaire politique. Nous procédons ici à une description historique et communicationnelle de la formation iconique et sémiotique de la figure du métissage au Mexique. À travers les productions discursives les plus notables de chaque période, s'opère l'émergence du sens par l'investissement des régimes de signification dans la figure métisse et ses occurrences sensiblesMixed race physiognomy and native culture of mexican population are rarely exposed in advertising in that country. This research deals with biological and cultural mestizaje as a visual figure. Presented in mexican advertising, it takes part of the grid of meanings behind the collective identities system. This work tackles the origins of stereotypes and visual isotopies leading to maintain, through the mythographic language of images, an unfavorable opinion on the mixed race population. Entities and Media having contributed to maintian in place these beliefs since the colonization of Mexico in the sixteenth century, are studied in a multidisciplinary, communication defined perspective.The rule of verbal, often imposed as a form of rationality in the study of figurative language, as well as the strategies performed by the Establishment to refuse any questioning about its legitimacy, make particularly complex the study of the relationship between images setting and political imaginary. We therefore propose a historic observation of the construction of the mestizaje's figure in Mexico, through the most significant visual productions of each period. This observation should lead to understand the emergence of sens as the investment that meaning systems have on mestizaje figure and its sensitive recurrences
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Carvalho, Lussandra Barbosa de. „Paratextualidade e Cultura em A Nova Heloísa de Rousseau: filosofia, literatura, imagem e geograficidade“. Universidade Federal do Maranhão, 2017. http://tedebc.ufma.br:8080/jspui/handle/tede/1780.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The present dissertation, has as purpose to undertake an interdisciplinary study involving a paratextual analysis of the images of Jean-Jacques Rousseau's novel Julie or the New Heloise (1761). In this sense, it was necessary a brief exam about the author's writing characteristics involving objects of his reflections, as virtue, feelings and imagination. Nevertheless, it was sought informations about the historical, philosophical and literay moment which was experienced during the creative process of the novel, namely, Pre-Romanticism that had influenced the eighteenth-century culture, so evident in the work. It was drawn a study about the verisimilitude on the Rousseaunian novel and it's relation to the ilustrations. searching for the origin of ilustrations in books and the matter of imagery resources, specifically, to The New Heloise. Then, it was made an analysis about the theme Geographicity in the mentioned novel, punctuating studies of the humanist geographer Yi-Fi Tuan, to indicate Saint-Preux's position in the novel, relating it to the Rousseau’s own identity, as it was highlighted the peculiarities of the virtuous Julie of Wolmar as manager of her home. disregarding the interdisciplinary focus between Literature, Philosophy, Culture and Art.
O texto dissertativo, que ora se apresenta, tem por objetivo empreender um estudo interdisciplinar envolvendo a análise paratextual das imagens do romance Júlia ou A Nova Heloísa (1761), de Jean-Jacques Rousseau. Para tanto, fez-se necessário um breve levantamento das características da escrita do autor envolvendo objetos de suas reflexões, como a virtude, os sentimentos e a imaginação. Não obstante, buscou-se informações acerca do momento histórico, filosófico e literário vivido durante o processo criativo do romance, a saber, o Pré-Romantismo que lançou influências sobre a cultura do século XVIII, tão presente na referida obra. Traçou-se um estudo sobre a verossimilhança no romance rousseauniano e sua relação com as ilustrações, percorrendo-se um itinerário desde a origem da inserção das ilustrações em livros à importância desses recursos imagéticos, especificamente, para A Nova Heloísa. Em seguida, fez-se uma análise acerca da Geograficidade, abordando estudos dos geógrafos humanistas, como Yi-Fi Tuan, para pontuar o lugar de Saint-Preux no romance, relacionando características do personagem à própria identidade de Rousseau, bem como destacou-se as peculiaridades da virtuosa Júlia de Wolmar como superintendente de seu lar, sem perder de vista o enfoque interdisciplinar entre Filosofia, Literatura, Cultura e Arte.
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Vaz, Pupo Marcelo 1978. „Bem-te-vis imagéticos no encontro com o outro : olhares da movimentação cidade-campo“. [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270982.
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Orientador: Antônio Carlos Rodrigues de AmorimDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A pesquisa de mestrado "Bem-te-vis imagéticos no encontro com o outro" entende que os processos sociais em torno da Agroecologia podem ser ricamente estudados quando a análise crítica se pauta sobre as suas dimensões culturais. É neste cenário teórico-metodológico que a pesquisa produz olhares ¿ e imagens ¿ sobre a movimentação cidade-campo a partir da vivência junto à algumas expressões agriculturais e camponesas do Estado de São Paulo, em sua maioria assentamentos da reforma agrária. A pesquisa questiona como a produção de audiovisuais pode gerar narrativas e partilhas que deem visibilidade à agricultura camponesa; como a produção de vídeos pode gerar estesia e abalo político no jogo de significados socialmente construídos (cultura e ideologia) em torno do que pensamos ser alimento e vida. A terra que persiste camponesa e inunda asfaltos emana força e sopra símbolos que desordena o discurso único e esgarça o agronegócio monocultural, nos evidenciando que o território em questão é tão concreto quanto imaterial: fato distinto cada qual com seu fruto, linguagens ímpares que o idioma corrente, acadêmico ou popular, mostra imiscível capital e soberania, commodities e segurança alimentar, monocultura e resiliência, latifúndio e dignidade humana. Há sentidos partilhados na sociedade que tencionam identidades e valores no entrelaçamento do mundo rural com o ideário moderno, recampesinização e crise civilizatória. A Agroecologia e os Estudos Culturais animam este cenário investigativo e o retroalimenta, reposicionando a produção do conhecimento acadêmico ao lançar luzes sobre os atores envolvidos. A legitimação crescente dos agenciamentos promovidos pelos movimentos sociais do campo tem implicado sério constrangimento ao conhecimento dominante. Deslocam-se os territórios subjetivos e existenciais, abrem-se fissuras e feridas identitárias, despertam-se minoridades constitutivas dormentes porém potentes. Esta pesquisa olha este fato e disserta sobre elementos que contribuem à percepção desse incessante movimento, memória imorredoura dos povos que reconfigura o visível e o pensável e refaz o mapa do sensível
Abstract: "Bem-te-vis imagéticos" is a master degree research investigating approaches between agroecology, images and communication of science. How can audio-visual materials engender narratives and affections providing visibility to peasant agriculture? Can images create a political impact in cultural representations about what we think food production is supposed to be? Brazilian social movements in agroecology and agrarian reform are serving us splited identities, fluid subjectivies in order to subvert the classical and linear understanding that prescribes us a unique future - industrial lifes, exacerbated consuption over the basic and traditional human values: respect, altruism and legitimacy in the coexistence with the difference. In order to discuss science communication about agricultural models in brazilian public policies debate, themes like identity, difference, modern imaginary, cultural representations, ideology arise. Rural settlements, indigenous territories, river communities are presenting us "off-axis" forms of life in a normative world. It does not means out of balance lifes, it means exactly the opposite: facing constraints those actors persist recreating their own memories, keeping indispensable connections with land and nature in a complex alterity - relationship we've, as western culture, forsaken over time. In the same way, how can we conceive off-axis images? In what way these images could act by theirself, not as a world representation, not as a duplicate of something? Is this a powerful question or an attractive investigation to achieve an emancipatory education and a liberatory communication? How could we use these images in our education purpose? What resources are befitting with a communication of science in this sense, in this theme?
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
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Zheng, Wen. „L'image de la Chine et la question de l'altérité dans un corpus d’œuvres françaises du XXe siècle : enjeux interculturels et propositions méthodologiques en didactique de la littérature, pour la classe de FLE en Chine“. Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA097/document.
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D’une signification équivalente à la « civilisation » vers une conscience de la « culturalité » en mouvement, l’évolution des notions de culture et d’interculturel nous amène aujourd’hui dans une réflexion plus dynamique sur l’identité de la personne qui porte la culture et sur sa relation avec les autres. Ce dynamisme s’illustre notamment dans la perspective didactique du Français Langue Étrangère, en particulier dans l’enseignement de la littérature française en classe de FLE. Le texte littéraire, auparavant simple support pour la traduction, nous semble aujourd’hui un répertoire interculturel où prévalent les rencontres identitaires et culturelles entre l’auteur francophone et le lecteur étranger. Cette thèse tente d’éclaircir, sous l’angle d’une vision interdisciplinaire, l’appréhension de la culture et de l’interculturel dans l’enseignement du français et de la littérature française en classe de FLE, choisissant pour cadre d’étude le milieu universitaire chinois. En prenant appui sur des observations en classe et des entretiens auprès des enseignants chinois observés, nous avons effectué des réflexions relatives aux enjeux interculturels en didactique de la littérature française dans le contexte universitaire chinois. Cette recherche sur le terrain nous a permis de proposer des activités pédagogiques destinées aux apprenants chinois s’appuyant sur un corpus littéraire d’œuvres françaises du XXe siècle et qui permettent de faire émerger en classe de littérature de FLE, les réflexions sur le lien stéréotype et identité, sur la diversité des images, ainsi que sur l’altérité dans la relation avec les autresFrom a signification of “civilization” to a consciousness of “culturality” with movement, the evolution of notions of culture and the intercultural leads us today to a more dynamic reflection concerning the culture bearer's identity and his relationship with others. This dynamism is notably apparent in the teaching of French as a foreign language, particularly when it is taught through the study of French literature. The literary text, once considered as simply material for translation, appears to us today to be an intercultural repertoire filled with identity and cultural contacts between the francophone author and the foreign reader. This thesis attempts to clarify, using an interdisciplinary approach, understanding of culture and the intercultural in French language and French literary teaching, choosing the Chinese university milieu as our object of study. Supported by observations in class and interviews with Chinese teachers, we have reflected on intercultural issues in French literary teaching in the Chinese university context. This research on the ground allows us to propose pedagogical activities for Chinese students, making use of a French literary corpus of the twentieth century, that encourage reflection about the link between stereotype and identity, image diversity, as well as alterity in relationships with others
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Albin, Drema Dial. „Making the body (w)hole a qualitative study of body modifications and culture /“. Full text (off-campus access restricted to users with UT Austin EID) Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023541.
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Thesis (Ph. D.)--University of Texas at Austin, 2001.Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International. Available also from UMI's Dissertation Abstracts.
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Rousseau, Pascale. „Rethinking the Monster : the condemnation of rape culture through the female monstrous body in Myriam Gurba's Mean and Carmen Maria Machado's "The Husband Stitch"“. Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69817.
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Ce projet analyse le mémoire hybride Mean de Myriam Gurba et la nouvelle « The Husband Stitch » de Carmen Maria Machado en se concentrant sur différentes itérations de monstruosité féminine dans des récits portant sur la culture du viol. Je démontre comment les corps féminins codés comme monstrueux deviennent le site d’un contre-discours qui perturbe et élargi les conceptions sociales qui sont faites de la violence sexuelle. Les écrits de Nathalie Wilson et Sara Ahmed informent la théorisation des monstres et de leurs rôles prescrits, tandis que les idées de corporéalité, embodiment, et abjection illuminent les possibilités représentatives du corps féminin et insistent sur ses capacités comme agent de changements culturels. Le premier chapitre examine la notion de corporéalité à travers différentes descriptions des traitements du corps féminin monstrueux. Les concepts d’embodiment et d’abjection signalent l’impact de la culture du viol sur le corps, considèrent tous les espaces comme potentiellement dangereux, et illustrent les similarités entre l’acte physique de viol et certaines techniques narratives. Le deuxième chapitre analyse la multiplicité de façons de régulariser le corps féminin monstrueux et de le subjuguer à des fins patriarcales. Par la juxtaposition délibérée de plusieurs moments clés à l’inclusion de cautionary tales subversifs, la nouvelle élabore une épistémologie radicalement politisée. Dans ce chapitre, l’abjection est perçue comme une technique expérimentale qui dérange la conception que le lecteur se fait de sa propre corporéalité et subjectivité.This thesis analyzes Myriam Gurba’s hybrid memoir Mean and Carmen Maria Machado’s short story “The Husband Stitch” through a focus on different iterations of female monstrosity in narratives about rape culture. I demonstrate how female bodies coded as monstrous become the site of a counter-discourse that disrupts and enlarges the social conceptions of sexual violence. The writings of Nathalie Wilson and Sara Ahmed inform the theorization of monsters and their prescribed roles, while the ideas of corporeality, embodiment, and abjection engage the representative possibilities of the female body and insist on its possibilities as agent of cultural change. The first chapter examines the notion of corporeality through different descriptions of the treatment of the monstrous female body. The concepts of embodiment and abjection signal the impact of rape culture on the body, consider all spaces as potentially dangerous, and illustrate the similarities between the physical act of rape and certain narrative techniques. The second chapter analyzes the multiple ways of regularizing the monstrous female body and of subjugating it for patriarchal purposes. Through the deliberate juxtaposition of several key moments with the inclusion of subversive cautionary tales, the short story elaborates a radically politicized epistemology. In this chapter, abjection is understood as an experimental technique that disturbs the reader’s conception of their own corporeality and subjectivity.
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Akil, Hatem Nazir. „The visual divide Islam vs. the West, image peception in cross-cultural contexts“. Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4733.
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Do two people, coming from different cultural backgrounds, see the same image the same way? Do we employ technologies of seeing that embed visuality within relentless cultural and ideological frames? And, if so, when does visual difference become a tool for inclusion and exclusion? When does it become an instrument of war? I argue that we're always implicated in visuality as a form of confirmation bias, and that what we see is shaped by preexisting socio-ideological frames that can only be liberated through an active and critical relationship with the image. The image itself, albeit ubiquitous, is never unimplicated - at once violated and violating; with both its creator and its perceiver self-positioned as its ultimate subject. I follow a trace of the image within the context of a supposed Islam versus the West dichotomy; its construction, instrumentalization, betrayals, and incriminations. This trace sometimes forks into multiple paths, and at times loops unto itself, but eventually moves towards a traversal of a visual divide. I apply the trace as my methodology in the sense suggested by Derrida, but also as a technology for finding my way into and out of an epistemological labyrinth. The Visual Divide comprises five chapters: Chapter One presents some of the major themes of this work while attempting a theoretical account of image perception within philosophical and cross-cultural settings. I use this account to understand and undermine contemporary rhetoric (as in the works of Samuel Huntington and Bernard Lewis) that seems intent on theorizing a supposed cultural and historical dichotomies between Islam and the West. In Chapter Two, I account for slogan chants heard at Tahrir Square during the January 25 Egyptian revolution as tools to discovering a mix of technology, language and revolution that could be characterized as hybrid, plural and present at the center of which lies the human body as subject to public peril. Chapter Three analyzes a state of visual divide where photographic evidence is posited against ethnographic reality as found in postcards of nude and semi-nude Algerian Muslim women in the 19th century. I connect this state to a chain of visual oppositions that place Western superiority as its subject and which continues to our present day with the Abu Ghraib photographs and the Mohammed cartoons, etc. Chapter Four deploys the image of Mohamed al-Durra, a 3rd grader who was shot dead, on video, at a crossroads in Gaza, and the ensuing attempts to reinterpret, recreate, falsify and litigate the meaning of the video images of his death in order to propagate certain political doxa. I relate the violence against the image, by the image, and despite the image, to a state of pure war that is steeped in visuality, and which transforms the act of seeing into an act of targeting. In Chapter Five, I integrate the concept of visuality with that of the human body under peril in order to identify conditions that lead to comparative suffering or a division that views humanity as something other than unitary and of equal value. I connect the figures of der Muselmann, Shylock, Othello, the suicide bomber, and others to subvert a narrative that claims that one's suffering is deeper than another's, or that life could be valued differently depending on the place of your birth, the color of your skin, or the thickness of your accent. Finally, in the Epilogue: Tabbouleh Deterritorialized, I look at the interconnected states of perception and remembering within diasporic contexts. Cultural identity (invoked by an encounter with tabbouleh on a restaurant menu in Orlando) is both questioned and transformed and becomes the subject of perception and negotiation.ID: 030646224; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 204-217).
Ph.D.
Doctorate
Arts and Humanities
Texts and Technology
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Noebel, Daniela A. „The hidden face of racism : Humanität and the monkey : images of otherness in Herder's Ideen zur Philosophie der Geschichte der Menschheit /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9975042.
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Bower, Matthew S. „Catastrophe in Permanence: Benjamin's Natural History of Environmental Crisis“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984263/.
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Walter Benjamin warned in 1940 of a certain inconspicuous threat to political thinking, not least of all to materialism, that takes progress as an historical norm. Implicit in this conception is what he describes as an empty continuum of time along which the prevailing tradition chronicles its own mythic development and drains everyday life of genuine historical experience. The myth of progressive history advances insidiously today in consumeristic and technocratic attempts at reconciling cultural imagery with organic nature. In this dissertation, I pursue the contradictions of such images as they crystallize around the natural history of twenty-first century commodity society, where promises of ecological remediation, sustainable urban development, and climate change mitigation have yet to introduce a true crisis of historical experience to the ongoing environmental crisis of capitalism. A more radical way of seeing the cultural representation of nature would, I argue, penetrate its mythic determination by market forces and bear witness to the natural-historical ruins and traces that constitute, in Benjamin's terms, a single "catastrophe" where others perceive historical continuity. I argue that Benjamin's critique of progress is instructive to interpreting those utopian dreams, ablaze in consumer life and technological fantasy, that recent decades of growing environmental concern have channeled into the recovery of an experience of the natural world. His dialectics of nature and alienated history confront the wish-image of organic abundance with the transience of its appropriated expression in the commodity-form. Drawing together this confrontation with a varied literature on collective memory, nature, and the city, I suggest that our poverty of experience is more than simply a technical, economic, or even ecological problem, but rather follows from the commodification of history itself. The goal of this work is to reflect upon the potentiality of communal politics that subsist not in rushing headlong into a progressive future but, as Benjamin urges, in reaching for the emergency brake on the runaway train of progress.
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Carrier-Lafleur, Thomas. „Proust et le cinéma : temps, images et adaptations“. Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30023/document.
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L’ambition de cette thèse n’est pas de poser objectivement les rapports qu’entretient À la recherche du temps perdu avec le cinéma(tographe), pour la simple et bonne raison que ceux-ci sont à peu près inexistants, du strict point de vue de l’objectivité. N’ayant jamais mis les pieds dans un lieu qui projette ce type bien particulier d’images en mouvement, Proust n’est pas un écrivain intéressé par ce qu’on nomme aujourd’hui « cinéma ». On ne trouve que peu souvent son nom dans les anthologies faisant état des écrivains du début du siècle dernier qui ont commenté le spectacle des vues animées. Si par hasard il y est, on cite généralement les passages du Temps retrouvé, où est assez sévèrement critiqué le « défilé cinématographique des choses ». Que la critique de Proust à l’endroit du cinéma(tographe) soit une critique essentiellement négative n’est pas en soi gênant et ne contredit pas nécessairement le besoin de faire le point sur cette question. Il nous faut seulement adopter une vision plus artiste du problème, ou du moins accepter que le cinéma n’est pas limité à un seul mode d’existence stable : « cinéma » est en fait un pot-pourri d’idées, de concepts et de pratiques qui est voué au changement, et c’est précisément ce changement qui est digne d’intérêt. Une telle relativisation de l’idée de « cinéma » nous permettra d’explorer les différentes séries d’images et les séries techniques qui parcourent le roman de Proust et ses adaptations écraniques, afin de voir si elles sont en mesure de recouper l’une ou l’autre des fonctions que l’on a pu attribuer au cinéma au cours de son histoire. La présente thèse est donc en quelque sorte le procès-verbal des définitions du cinéma qu’a pu nous offrir notre lecture de Proust. Elle est aussi celui des différentes lectures que le cinéma nous permet de faire de la Recherche, des lectures « cinématographiques »This thesis does not objectively study ongoing relations between In Search of Lost Time and the cinema medium for the simple reason that, from the strict point of view of objectivity, they are almost non-existent. Having never set foot in a place that shows this particular type of moving images, Proust is not interested in what is now called “cinema”. At best, his name infrequently appears in anthologies of the early 20th century’s writers who commented this kind of spectacle. If by chance he is, the excerpts generally selected are the ones of Time Regained where the “cinematic parade of things” is quite severely criticized. But Proust’s criticism of cinema, albeit an essentially negative one, is not that much inconvenient and does not particularly contradict the need to investigate the matter. We just have to think the problem in a more artistic way, or at least to accept that cinema is not limited to a stable, single mode of existence: “cinema” is – and should be – a potpourri of ideas, concepts and practices that is bound to change, and it is precisely that change that is worth investigating. Such a relativization of the idea of “cinema” will allow us to explore different series of images and series of techniques that run in Proust's novel and its screen adaptations, while letting us see if they are able to match some functions that have been attributed to cinema during its history. This thesis therefore intends to be a record of cinema’s definitions that our reading of Proust’s work could offer. It is also a record of the many readings of In Search of Lost Time that cinema allows us, “cinematographic” readings
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Choi, Mun Ga. „The impact of cultural context on corporate web sites a New Zealand and South Korean comparison : a thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Master of Philosophy (MPhil), 2008 /“. Click here to access this resource online, 2008. http://hdl.handle.net/10292/541.
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This study examines the impact of national culture on the content of corporate Web sites, and Web users’ attitudes and intentions toward culturally congruent or incongruent Web sites. In this work, culturally bipolar clusters based on Hofstede’s (1991) and Hall’s (1976) cultural dimensions are conceptualised. New Zealand and Korea are chosen as representatives of the respective bipolar clusters. This research utilises both content analysis and experimental research to provide deep insight into an area which has not yet been explored. Two studies are undertaken, Study One, focusing on the content analysis, examines how the use of visual communication and Web features differs between the two countries and between industry types. Study Two assesses Web users’ predispositions to respond favourably or unfavourably to the Web site. Web users’ perceptions, measured by experimental research with four culturally manipulated Web sites, are assumed to be the most suitable concept for studying the effectiveness of Web sites. Three ethnic groups are involved: Korean university students, New Zealand university students, and English-Korean bilingual university students. The findings reveal differences in the content of corporate Web sites from the two countries. However, these results do not support the findings of extant research. The results show that the corporate Web sites studied can be distinguished not only by the two national cultures, but also by other significant factors such as a company’s characteristics, its online presence strategy, national broadband infrastructure, and unique Internet culture. Additionally, the segment of young adults shows a convergence of cultural value systems which can be attributed to the fact that young adults in both countries have similar perceptions toward corporate Web sites regardless of their nationalities. Language structure and local terminology on the Web sites, however, are still important. This study contributes to knowledge by providing critical insights into the effectiveness and cultural congruence of Web sites. The results will benefit both academics and practitioners.
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Hrodějová, Simona. „Image a vztah s veřejností soukromé vysoké školy“. Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-72162.
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The goal of this master thesis is to summarise theoretical knowledge and characteristics of the corporate image and characteristics of public relations and subsequently to practice the PR audit and the research of the corporate image by the key target groups in the surrounding of the organization. An optimazing approach to the communication process has been developed based by outputs from the PR audit. The analysis and the research were conducted on a higher educational institution XY Ltd. The analysis of the material facts through the scientific literature and company internal documents and personal partially standardised interview were used as a methodological background for the PR audit. The subjective attitudes of the key target groups of interested persons towards corporate image was conducted with the help of questionionnaires.
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Davies, Callan John. „Strange devices on the Jacobean stage : image, spectacle, and the materialisation of morality“. Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/19236.
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Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern moral philosophy, scepticism, and material and textual culture. The second part of my thesis concentrates on Shakespeare’s Cymbeline (1609-10) and The Tempest (1611), John Webster’s The White Devil (1612), and Thomas Heywood’s first three Age plays (1611-13). These spectacular plays are all written and performed within the years 1610-13, a period in which the changes, challenges, and developments in both stage technology and moral philosophy are at their peak. I set these plays in the context of the wider historical moment, showing that the idiosyncrasy of their “strange” stagecraft reflects the period’s interest in materialisation and its attendant moral anxieties. This thesis implicitly challenges some of the conclusions of repertory studies, which sometimes threatens to hierarchise early modern theatre companies by seeing repertories as indications of audience taste and making too strong a divide between, say, “elite” indoor and “citizen” outdoor playhouses. It is also aligned with recent revisionist considerations of spectacle, and I elide divisions in criticism between interest in original performance conditions, close textual analysis, or historical-contextual readings. I present “strangeness” as a model for appreciating the distinct aesthetic of these plays, by reading them as part of their cultural milieu and the material conditions of their original performance.
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Leyssen, Sigrid. „Perception in Movement. Moving Images in Albert Michotte's Experimental Psychology (1881-1965)“. Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0142.
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J’explore de nouvelles façons d’étudier l’histoire et l’historicité de la perception, à travers un double portrait du psychologue francophone Albert Michotte, et de la collection de ses disques en papier. Leur interaction produit de nouvelles images expérimentales, éclaircissant les complexités de la perception. J’ai navigué différents archives, archives d'objets et collections d’instruments en Belgique, en France et en Allemagne. La découverte de nouvelles sources et mes ré-animations historiques m’ont permis de combiner l’histoire des sciences et l’étude des médias, touchant sur l’histoire de la philosophie et de la religion. Le portrait de Michotte dévoile une figure qui fait le pont entre différents paradigmes psychologiques, science et religion, filmologie et phénoménologie expérimentale, aussi bien qu’un diplomate des sciences traversant deux guerres, des politiques religieuses et des changements institutionnels. Etudier les paradoxes qu’il incarnait devient ainsi un outil d’historiographie. Le portrait des disques, contextualisé en termes de 'contextes d’action', montre comment ils sont liés à la pratique expérimentale, le cinéma, l’art et la culture matérielle du laboratoire. Ce double portrait montre comment Michotte et les disques créèrent ensemble des images en mouvement afin d’étudier les perceptions dynamiques, telle que la perception de la causalité. Le mouvement est essentiel à cette thèse, car il permet de comprendre comment de telles perceptions son générées et transportées. L’étude de ces perceptions permet de saisir comment la perception dépend d’un contexte, se forme à travers des inter-actions, et change – montrant son historicitéI explore new ways to study the history and historicity of perception, through a double portrait: of the francophone psychologist Albert Michotte, and of a set of well-preserved rotating paper discs. In their interaction, new experimental images were generated, shedding light on the intricacy of perception. I have searched different archives, object-archives and instrument collections in Belgium, France and Germany. Newly discovered sources, together with my historical re-animations, allowed me to combine history of science with media studies, in close interaction with the history of philosophy and religion.The portrait of Michotte shows a bridging-figure between different psychological paradigms, science and religion, filmology and experimental phenomenology, performing science diplomacy to navigate two wars, religious politics and institutional change. Studying the paradoxes he embodied is developed into a historiographical tool. The portrait of the discs, contextualised in terms of 'action contexts', shows how they related to experimental practice, cinema, art and the material culture of the laboratory. This dynamic double portrait shows how Michotte and the discs together create moving images for the study of dynamic perceptions, such as the perception of causality. Motion is central to this thesis, not only for explaining the dynamic perception of movements, but especially for understanding how such perceptions are generated and transported. Studying these 'movement-perceptions' makes it possible to grasp how perception is context dependent, how it is shaped through inter-actions, and how it changes – giving it a history
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Coltelloni, Anne. „Le documentaire comme forme symbolique“. Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00812350.
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L'étude sur le documentaire a suscité ces dernières années de nombreuses approches : historique, rhétorique, pragmatique, stylistique. Celles-ci posent la question de la réalité dans le film ou dans la photographie, problématique récurrente du documentaire. C'est à nouveau cette interrogation qui sera abordée dans cette recherche. La perspective envisagée a l'ambition de synthétiser toutes ces approches en remontant à l'origine de la photographie, au dix-neuvième siècle, et en faisant valoir sa spécificité d'image. Un parcours photographique est proposé montrant en quoi l'image photographique a pu bouleverser notre rapport à la réalité. Cette ambition synthétique a trouvé son fondement dans un concept original initié par le philosophe allemand Ernst Cassirer : la forme symbolique. Il s'agit d'une logique culturelle qui propose de se placer au cœur de nos réalités et d'analyser les principes qui les gouvernent. Le point d'ancrage d'une telle philosophie repose sur la culture comprise comme une réalité relative. Dans cette perspective, l'image photographique en tant que documentaire est considéré comme un lieu donnant à penser une réalité ? Comment ? Cette recherche nous amène à envisagé trois moments pour l'élaboration de cette forme symbolique particulière : 1) l'invention d'une image-monde que l'image photographique a suscité ; 2) la survivance des réalités contenues et transformées dans cette image-monde ; 3) la création d'un lieu de mémoire par la constitution d'un patrimoine photographique.
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Mousquer, Elenir de Fátima Cazzarotto. „FILOSOFIA DAS IMAGENS NA ESCOLA: UMA ALTERNATIVA PARA FILOSOFAR COM CRIANÇAS“. Universidade Federal de Santa Maria, 2004. http://repositorio.ufsm.br/handle/1/6786.
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The study proposes itself a relevance and viability analysis of the insertion of Philosophy in the educational proposal, to the level of basic education. In the search of understanding that is configured in an emancipator process by the vies of the aesthetic experience. The discussion of the subject of the Philosophy of images as pedagogical-didactical alternative to philosophize with children in school, has as basic theoretical contributions the Program Philosophy for Children, by Matthew Lipman, and the Theory of Communicative Action by Jürgen Habermas. Philosophy has been permitting us to unveil the paradigms for education, in the transition to the post-modern society, in the presence of emerging necessities in the pedagogical action, with the shift from the conscience philosophy to the language philosophy, in which is accented the dialogical and communicative character of reason. Through the hermeneutic reading exercise, there is the purpose of analyzing some significant moments referring to the emergence of the infancy and its different images, searching the philosophical understanding in the global context, always noticing the specificity of our country. It is believed, that Philosophy through images may resignify the process of insertion of Philosophy in the schools and redimensionate the cultural formation dynamic, renewing the discussion about its teaching, departing from the referential of aesthetic images used in the language. In the present context, the images propose themselves as an access channel to knowledge, and in a second moment as a didactic resource. In the knowledge construction it is fundamental a deeper and more complete reflexion of the educative activity, due to the possibility of interpretation of the tensions that occur in the ambit of education, linking to this aspect a cognitive competence development theory and the implications of a communicative rationality in the pedagogical praxis.O estudo propõe a análise da relevância e viabilidade da inserção da Filosofia nas propostas educacionais, ao nível da educação básica, na busca do entendimento que se configura num processo emancipador pelo viés da experiência estética. A discussão do tema da Filosofia das imagens como alternativa didático-pedagógica para filosofar com crianças na escola tem, como aportes teóricos básicos, o Programa de Filosofia para as Crianças, de Matthew Lipman, e a Teoria da Ação Comunicativa, de Jürgen Habermas. A Filosofia vem nos permitindo desvelar os paradigmas da educação, na transição para a sociedade pós-moderna, diante das necessidades emergentes na ação pedagógica, com a mudança da filosofia da consciência para a filosofia da linguagem, em que se acentua o caráter dialógico e comunicativo da razão. Através do exercício da leitura hermenêutica, há o propósito de se analisar alguns momentos significativos referentes ao surgimento da infância e suas diferentes imagens, buscando o entendimento filosófico no contexto global, sem deixar de perceber a especificidade do nosso país. A Filosofia por imagens pode ressignificar o processo de inserção da Filosofia nas escolas e redimensionar a dinâmica da formação cultural, renovando a discussão sobre seu ensino, a partir do referencial das imagens estéticas utilizadas na linguagem. No contexto atual, as imagens se propõem como canal de acesso ao conhecimento e secundariamente como recurso didático. Na construção dos conhecimentos é fundamental uma reflexão mais completa e aprofundada da atividade educativa, pela possibilidade de interpretar as tensões que ocorrem no âmbito da educação, ligando a esse aspecto uma teoria do desenvolvimento da competência cognitiva e as implicações de uma racionalidade comunicativa na práxis pedagógica.
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Sarviaho, S. (Samu). „Ikuinen rauha:vuoden 1323 Pähkinäsaaren rauha suomalaisessa historiantutkimuksessa ja historiakulttuurissa 1800- ja 1900-luvuilla“. Doctoral thesis, Oulun yliopisto, 2017. http://urn.fi/urn:isbn:9789526215563.
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Abstract This dissertation analyzes conceptions of the nature of the Treaty of Nöteborg, signed in 1323 between Sweden and Novgorod, especially in 19th and 20th century Finnish historical research and popular literature. The methodologies used are contextualization and the sociology of science. The treaty rose to great prominence in mid-19th century periodization of Finnish history. At the time, Finnish historiography considered the Crusade Period in Finland as a showdown between Sweden and Russia and emphasized the significance of interstate treaties. The treaty has maintained its status as a cornerstone of the periodization of Finnish history up to the present. It has symbolized the Christianization and Swedification of Finland and the nationalist myth of the birth of a unified Finnish people in medieval times. With the view of an era of Karelian disunity, symbolized by the treaty, an image of history was constructed in Finnish kinship ideology from the mid-19th century up to the end of World War II. This image was used in furthering the unification of Eastern Karelia with Finland. An image of the treaty as having confirmed an ancient Karelian position of power in Northern Finland was created with the view of the border as stretching to the Bay of Bothnia. This was important particularly in the 19th century, as various nations were constructing views of their own ancient dominance in the North Calotte region. Using these border conceptions, a nationalist image of Finns as having conquered Eastern Savo and Northern Finland for Sweden in late medieval times was also created. The conception of Northern Finland as a common was created in the 1960s. This view was partially based on the 19th century Swedish nationalist conception of the border as stretching to the Arctic Sea. Especially in Savo, views of the location of one’s own locality on the ancient borderline have been used in creating a local identity in the late 20th century. The conception of the border as a dividing line between modern Western and Eastern Finland arose in early 20th century Finnish ethnology based on dubious views of settlement history and geography. The hazy source material concerning borders has been interpreted based on various theoretical background assumptions, and it has been compatible with several different theoriesTiivistelmä Tässä väitöskirjassa analysoidaan käsityksiä Ruotsin ja Novgorodin välillä vuonna 1323 solmitun Pähkinäsaaren rauhan luonteesta erityisesti 1800- ja 1900-lukujen suomalaisessa historiantutkimuksessa ja populaarissa kirjallisuudessa. Metodeina käytetään kontekstualisointia ja tieteensosiologian metodeja. 1800-luvun keskivaiheilla Pähkinäsaaren rauha nousi merkittävään asemaan Suomen historian aikakausijaottelussa. Ajan suomalainen historiantutkimus piti Suomen ristiretkiaikaa venäläis-ruotsalaisena välienselvittelynä ja korosti valtioiden välisten sopimusten merkitystä. Rauha on säilyttänyt asemansa Suomen historian periodisoinnin kulmakivenä nykypäivään asti. Se on symboloinut Suomen kristillistymistä ja ruotsalaistumista sekä nationalistista myyttiä yhtenäisen Suomen kansan synnystä keskiajalla. Käsityksellä Pähkinäsaaren rauhan symboloimasta Karjalan hajanaisuuden ajasta rakennettiin 1800-luvun puolivälistä toisen maailmansodan loppuun heimoaatteessa historiakuvaa, jonka mukaan itäinen Karjala tulisi yhdistää Suomeen. Käsityksellä Pähkinäsaaren rauhan Pohjanlahdelle ulottuneesta rajasta luotiin 1800-luvulla kuvaa rauhan luonteesta muinaisen karjalaisvallan vahvistajana pohjoisessa Suomessa. Tällä oli merkitystä varsinkin 1800-luvulla, jolloin eri kansakunnat rakensivat näkemyksiä omasta muinaisvallastaan pohjoiskalotilla. Rajanäkemyksillä on myös rakennettu nationalistista näkemystä siitä, että suomalaiset valloittivat itäisen Savon ja pohjoisen Suomen Ruotsille myöhäiskeskiajalla. 1960-luvulla syntynyt näkemys piti Pohjois-Suomea yhteisalueena. Se perustui osittain 1800-luvun ruotsalaiseen nationalistiseen näkemykseen, jonka mukaan raja ulottui Jäämerelle. Erityisesti käsityksiä oman paikkakunnan sijainnista muinaisella rajalla on voitu käyttää etenkin Savossa paikallisen identiteetin rakentamisessa 1900-luvun lopulla. Käsitys rajasta Itä- ja Länsi-Suomen jakajana syntyi 1900-luvun alkupuolen suomalaisessa kansatieteessä kyseenalaisten maantieteellisten ja asutushistoriallisten näkemysten pohjalta. Rajoihin liittyvää epäselvää lähdemateriaalia on tulkittu useiden eri teoreettisten taustaoletusten pohjalta, ja se onkin ollut yhteensopiva useiden eri teorioiden kanssa
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Dernbach, Rafael Karl. „Anticipatory realism : constructions of futures and regimes of prediction in contemporary post-cinematic art“. Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289021.
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This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad's theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki's application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a 'turn towards the future' in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?
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Crawford, David. „A comparative study of young and mid-life males' experiences and perceptions of a dominant model of masculinity“. Thesis, 2001. http://handle.uws.edu.au:8081/1959.7/137.
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Academic sociology identifies a dominant form of masculinity said to be the measure by which all men are judged. Called hegemonic or patriachal masculinity, it is seen as a form of masculinity with personal and social dimensions. In similar fashion, popular writings identify the traditional male heroic image as the cultural model of masculinity. This study explores the impact of such a dominant model of masculinity as factors in how boys and young males learn to be a man. The research looks at the lives of 13 males aged in their early 20s and around 40 years of age, utilising life-course theory and a social-psychological perspective. It compares and contrasts the experiences and perceptions of these young and mid-life males, with regard to the dominant social model of masculinity. The study seeks to assess the significance of the dominant cultural model of masculinity, as a model for what it means to be a man, for males at different stages of their life course. The dominant model of masculinity appears as a rather one dimensional model, a mainly tough, brave and physical image. During adolescence popular culture was the major influence upon their ideas and perceptions of masculinity. This influence came via their interest and participation in sport, the masculine cultural ideal enforced by their peers, and popular media images. the traditional model of masculinity can be seen to be a heroic form of masculinity with emphasis upon power, competition, success and glory. Traditional or patriarchal masculinity, called more simply heroic masculinity, emerges as a potent influence for both the young and mid-life males in terms of values, behaviours and practice. Traditional masculinity emerges as an influence they barely recognise; and possibly a factor in the limited emotional repertoire and guardedness that mid-life males exhibit.
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„Image capital: a case study of the spatialization and semioticization processes at Hengdian World Studios“. 2012. http://library.cuhk.edu.hk/record=b5549512.
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本文提出「影像/形象資本」作為考察影像/形象、資本及權間關係的工具。「影像/形象資本」發展至自布爾迪卮的文化資本，但「影像/形象」資本把焦點放在視覺或形象資源如何在文化/經濟、生產/消費以及上層建築/下層建構界線越趨模糊的符號空間經濟主導代，成為文化場域中新的權資源。透過考察橫店影視城一個結合影視生產及遊的中國影城生產地域化及經濟符號化的過程，本文嘗試對「影像/形象資本」的概作深入的分析。沿著布爾迪卮的框架，影視城被視為一個由擁有同影像/形象資本的能動者構成的場域，而這些能動者自在地及跨境的生產及消費網絡。在橫店影視城生產、積與轉換的過程的探中，本文嘗試回答：一)影像/形象在文化場域中的功能及其轉換為經濟或其他資本的條件；二) 影像/形象資本在國際文化分工成員中的分佈以及其結構對影像資本的價值及轉換的影響。第一條問題旨在闡釋經濟符號化的過程，第二條問題則希望剖析影像/形象與資本主義結下的地域分工以及動政治。作為一個可以同時探究影像帶的可能性及限制的概，影像/形象資本把媒介影像的研究，從批判學派對影像呈現的控制及霸權形成，展至影像對同能動者、以至在符號經濟時代中冒升的社會機構所產生的建設性及壓迫性的權的多重探索。
This thesis develops the concept of image capital to investigate the relationship between image, capital and power. Image capital is built on Bourdieu's concept of cultural capital, but looks specifically into how visual and imagery resources becomes a power at stake in the cultural field at the juncture of the economies of signs and space featured by growing convergence of culture and the economy and subsequent blurring of the boundaries between base/superstructure and production/consumption.
The concept of image capital is examined through the case study of the spatialization and the semioticization processes of Hengdian World Studios, a China studio complex that serves domestic and international film and TV productions and operates film studio tourism. The studio, as a case, is theorized as a field which is constituted by different agents with various forms of image capital, including those embedded in local as well as transnational production and consumption networks. The processes of production, accumulation and conversion of image capital at the field of Hengdian World Studios are investigated to chart 1) how image functions as a form of capital at stake in the cultural field and how it can be converted into other forms of capital; 2) how the distribution of image capital is structured amongst agents in the field and how this structure influences the value and conversion rate image capital to other forms of capital. The first question aims at studying the semioticization process, whilst the second attempts to scrutinize the spatialization and the labor politics underpinning the alliance of image and capitalism. By theorizing image as Bourdieusean form of capital and examining both its enabling possibilities and constraints, this thesis sheds light on the study of media images by steering beyond ideological control to both the productive and repressive power of images onto different agents as well as the social intuitions of the up and rising economies of sign and space.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Chow, Pui Ha.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves [419-439]).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
ABSTRACT
摘要
ACKNOWLEDGMENTS
TABLE OF CONTENT
Chapter CHAPTER I --- Introduction --- p.1
Chapter CHAPTER II --- Image and Capitalism --- p.21
Marx's capital and critical media theories on image studies --- p.21
Political economies of signs and the media --- p.26
Implications of the political economy of signs on critical Marxist media theories --- p.31
Alternative frameworks for the study of image and capitalism: End of Production and Labor or NICL? Or Bridging capital and labor in image production and consumption? --- p.38
Chapter CHAPTER III --- Bourdieu's Capital, Field and Habitus --- p.51
Bourdieu's concept of Capital --- p.52
Field and Habitus --- p.63
Theoretical implications of habitus and field of Bouredieusean capital --- p.71
Chapter CHAPTER IV --- Field Theory of Cultural Production and the Political Economy of Signs --- p.76
The field of cultural production --- p.77
The field of cultural production and the political economies of signs and space --- p.91
Image Capital and the political economies of signs and space --- p.105
Chapter CHAPTER V --- Image Capital, Field and Film Studio --- p.112
Intercontextuality: Contextual knowledge, globalization and field --- p.113
Film Studio, image capital and field --- p.117
Research question, design and method --- p.124
Chapter CHAPTER VI --- The Development of Film Studio Complex --- p.135
The emergence of film studio complex in the global field --- p.135
Transformation of China's National Field of Cultural Production --- p.144
Conclusion: Studio complex, image capital, and field of cultural production --- p.170
Chapter CHAPTER VII --- Spatialization: Hengdian as a Field of Cultural Production --- p.176
Iron Road: co-production, image capital, and boundaries negotations --- p.179
Hengdian World Studios as Image Factory --- p.192
Conclusion: the image factory flying beyond the place --- p.219
Chapter CHAPTER VIII --- Semioticization: Capitalizing Image and the Mediation of Production and Consumption --- p.227
Image capital and film-induced tourism --- p.228
Capitalizing image at Hengdian World Studios --- p.237
Key Image Labors --- p.252
Chinese Hollywood: the negotiations and struggles in the capitalization of the global and the national imagination --- p.261
Conclusion --- p.271
Chapter CHAPTER IX --- Image Capital and Tourist Consumption: Gaze, Class and Prosumption --- p.275
Image capital and tourist consumption --- p.276
Tourist gaze at Hengdian World Studios --- p.284
Image Capital, class and prosumption --- p.314
Chapter CHAPTER X --- Image Capital and Place-Making --- p.339
Hardware make-up: physical infrastructure engineering --- p.341
Software make-up: lifestyle formation --- p.345
Place branding --- p.365
Chapter CHAPTER XI --- Conclusion: Image, Capital and Power --- p.372
Image as capital --- p.374
Forms of image capital --- p.376
Functions of image capital --- p.382
Image capital: semioticization and spatialization --- p.400
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Mackenzie, Michael. „Maschinenmenschen : images of the body as a machine in the art and culture of Weimar Germany /“. 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9951812.
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Prasad, Mohit Manoj. „Indo-Fijian diasporic bodies : narratives in text, image, popular culture, and the lived everyday in Fiji and Liverpool, Sydney, Australia“. Thesis, 2005. http://handle.uws.edu.au:8081/1959.7/15318.
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This thesis examines modalities of identity and representation for the Indo-Fijian diaspora and its second shift diasporic remove in Liverpool, Sydney, Australia. Indo-Fijian Literature in English, Fiji-Hindi, Memoir form of Indo-Fijian diasporic writings along with representations of Indo- Fijians in other texts are examined in the first instance to enable siting of various identities and representations. This is used as a springboard to engage with instances of production; expression and consumption of Popular Culture in Indo-Fijian diasporas are examined towards a critical inquiry into the problematic of Indo-Fijian diasporic identities and representations. The problem at hand is the issue of identity and representation between the binaries of homogeneous constructs of a people and their lives and that of heterogeneous modalities that takes in difference and the place of the individual and their everyday lived space in the Indo-Fijian diaspora. Modes of identity and representation in its various modes, literary, non-literary narratives and in the production, expression and consumption of popular culture is examined in this thesis towards a construct of a diaspora, of a people, beyond convenient reductive homogeneous constructs.
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Lu, Wei-Lin, und 呂煒琳. „The relationship between the management philosophy of peace culture and brand image, and discussing the moderating effect of employee morale – A Comparative Analysis of MNE of the United States of America, Japan, and United Kingdom in Taiwan intellectual capital“. Thesis, 2014. http://ndltd.ncl.edu.tw/handle/d87jd4.
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博士中國文化大學
國際企業管理學系
102
Existing literature or/and logical reasoning cannot explain the relationship between management philosophy of peace culture, brand image and employee morale. Hence, there is a need to further clarify the impact of the management philosophy of peace culture to brand image. On the other hand, this study is to examine whether the mod-eration effect of staff morale on management philosophy of peace culture and the brand image is existing. This study leverage survey to collect research data. 325 copies of questionnaires have been sent, while a total of 213 valid question-naires, the recovery rate of 66%. The empirical results show that management philosophy of peace culture and awareness of brand image showed a significant positive relationship. The management philosophy of peace culture and loyalty of brand image showed a significant positive relationship. The management philosophy of peace culture and satisfaction of brand image showed a significant positive relationship. And, employee morale showed significantly positive effect on the relationship between management philosophy of peace culture and the brand image.
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Jovanovski, Natalie. „Digesting Femininities: an Examination of Body-Policing Attitudes in Popular Discourses on Food and Eating“. Thesis, 2014. https://vuir.vu.edu.au/29724/.
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Feminist and psychological literature has long established a link between women’s often conflicted relationship with food and social discourses that reinforce harmful notions of the ideal female body and the need for bodily self-surveillance. However, new cultures around food and eating have emerged which purport to offer different ways to connect with food. One feature of these gendered discourses is their use of feminist terminology and ideas of empowerment and emancipation. This thesis sets out to explore popular cultural discourses on food and eating by examining recent, best-selling diet books and cookbooks written by women and the iconic feminist texts that have inadvertently helped shape them. The thesis will argue that together, these food and eating-related discourses reinforce and normalise body-policing gender norms and body-centric attitudes, despite their broader aims to challenge these ideas. By viewing these texts through a feminist post-structuralist lens, and employing methodological tools from critical discourse analysis, this thesis attempts to move beyond individualistic, body-centric approaches that dominate existing literature. It aims to fill a gap in this literature and in current debate by examining different cultural discourses for the ways body-surveillance messages are normalised and perpetuated. It advances the idea of ‘food femininities’ to describe the multiple means by which authors of diet books, cookbooks and iconic feminist texts instantiate and reproduce body-policing narratives. It concludes that these apparently new discourses on food and eating, like the discourses that preceded them, promote similarly harmful, self-objectifying attitudes in women.
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Stasko, Carly. „A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing“. Thesis, 2009. http://hdl.handle.net/1807/18109.
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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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Van, As Karen Helen. „Ondersoek na en evaluering van die opvoedingsrol van die vader : 'n studie in tydsperspektief“. Diss., 1994. http://hdl.handle.net/10500/16242.
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Text in AfrikaansIn this dissertation an attempt has been made to study the past and in particular the basic cultures of Western civilization (the ancient Israelites, ancient Greeks, Romans and early Christians) in order to investigate the educational role of the father. In an examination of the past from a historic pedagogical perspective, an endeavour has been made to compare the educational role of the father during the ancient period to that of the father at present in order to ascertain whether the past can possibly serve as "preceptor" with regard to this contentious contemporary problem. A chapter was devoted to each of the four aforementioned cultures in which the father's educational role was disclosed. At the end of each chapter a brief conclusion was reached pertaining to the field of study. In the last chapter a number of conclusions and recommendations with regard to some of the factors which influenced the father's educational role but which has immense significance for the contemporary (as well as the future) period and consequently cannot be ignored, were recorded. Matters such as the· father's educational responsibility, religious/devout support, moral-ethical education, vocational preparation and the implementation/enforcement of punishment and discipline were discussed so that the present state of affairs with regard to these factors could be evaluated and compared to that of the past.
In hierdie verhandeling is gepoog om by die verlede en wel by die grondkulture van die Westerse beskawing (die oud-lsraeliete, antieke Grieke, Romeine en vroee Christene) te gaan kers opsteek betreffende die opvoedingsrol van die vader. Deur die verlede vanuit 'n histories-pedagogiese ingesteldheid te bevra, is daar gepoog om die verband tussen die opvoedingsrol van die vader in die antieke tyd met die van die vader in die huidige tyd te vergelyk in 'n paging om vas te stel of die verlede moontlik as "leermeester" ten opsigte van die brandende kontempor~re vraagstuk kan di en. Aan elkeen van die vier genoemde kulture is 'n hoofstuk gewy waarin die vader se opvoedingsrol onthul is en aan die einde van elke hoofstuk is tot 'n kart samevattende gevolgtrekking met betrekking tot die veld van ondersoek gekom. In die laaste hoofstuk is 'n aantal gevolgtrekkings en aanbevelings met betrekking tot enkele faktore wat die vader se opvoedingsrol be1nvloed het maar wat groat segwaarde vir die huidige (sowel as toekomstige) tyd het en dus nie negeer kan word nie, geboekstaaf. In hierdie verband is aangeleenthede soos die vader se opvoedingsverantwoordel ikheid, religieus/godsdienstige steungewing, moreelsedelike opvoeding, beroepsvoorbereiding en die toepassing/handhawing van tug en dissipline aan die orde gestel sodat die huidige toedrag van sake met betrekking tot die genoemde faktore daarteen gespieel en geevalueer kan word.
Educational Studies
M. Ed. (Historical Education)