Academic literature on the topic 'Image d’état'

Le Québec est longtemps apparu comme la terre de prédilection des médias communautaires. Ces pratiques ont le plus souvent été liées à des projets d’aide gouvernementale. Mais actuellement les subventions d’État ne peuvent plus suffire à assurer la continuité de ces expériences. On ne peut considérer les médias communautaires comme un bloc homogène ou leur prêter une image d’expériences progressistes ou d’alternatives par simple opposition aux médias de masse. Pour les comprendre et en mesurer les enjeux, il convient de situer les médias communautaires dans le cadre du développement politique, économique et culturel de la société québécoise. C’est précisément à quoi s’attache cet article qui dresse un cadre d’analyse global de compréhension des médias et tente d’évaluer leur développement probable dans un contexte de pénurie.

Abstract Le Naufrage de la Pucelle is a work written by Jean Molinet in 1477 to relate, in allegorical form, the attack of Louis XI to Mary of Burgundy’s States at the beginning of that same year. The text presents a vessel adrift, an image of Burgundy itself, manned by a duchess who is incapable of steering it and with a divided crew, which is also a true reflection of the inner situation of the territories ruled by the daughter of Charles the Bold. The crew members are surrounded by sea animals that seek to sink them, an image of the brutality of the French attack, but they are finally rescued by eagles that embody the imperial power. The text, which is faithful to the Burgundian chivalric ideology, is built through various levels of interpretation, where the allegory not only reflects the political situation, but it also conveys religious motifs that will be common in other later works by Molinet himself, indiciaire of the duchy during those terrible years.

Dès 1948, le président de la République argentine, Juan Perón, proclame que les sportifs sont les « meilleurs ambassadeurs du pays ». Cette déclaration devient un argument privilégié pour justifier le soutien gouvernemental accordé aux athlètes de haut niveau sous le péronisme. Cet article examine l’intégration progressive des sportifs au programme diplomatique du régime. Face à l’hostilité généralisée de la part de la communauté internationale, le gouvernement péroniste a recours au sport pour tenter de rompre son isolement et de redorer son image à l’extérieur. À travers l’exemple des délégations olympiques et la mise en place d’un système d’« amateurs d’État », cet article explore la transformation des athlètes en représentants de la nation et en promoteurs du péronisme, envoyés en mission à l’étranger.

Résumé En 1971 la République Démocratique du Congo (l’ancien Congo belge) est devenue le Zaïre et le concept d’authenticité a été mis au centre d’un projet nationaliste qui utilisait le passé pour se projeter dans l’avenir. En même temps que le gouvernement Mobutu se forçait à créer une image et une identité nationale unifiée (zaïroise), il insistait sur l’existence de plus de 350 groupes ethniques qui composaient la mosaïque du paysage national. La gestion de cette diversité reposait en grande partie sur une stratégie de mise en public des chants et danses traditionnels des principaux groupements ethniques et linguistiques du pays : l’animation politique et culturelle. Inspirée par la pensée de la négritude mais aussi par les spectacles patriotiques que Mobutu avait observés lors d’une visite officielle en Corée du Nord et en Chine, l’animation politique et culturelle dominait non seulement la sphère publique, mais aussi l’imaginaire politique du pays. L’imposition de ce phénomène dans tous les aspects de la vie publique (écoles, entreprises privées, entreprises d’État, télévision et radio, associations de quartier) a permis à Mobutu de consolider son autorité en tant que « Président-Fondateur » et « Père de la Révolution », mais il cela a eu aussi pour effet de transformer la façon dont la notion de la culture est vécue et comprise.

December 17, 1926 marked a change for the young independent Republic of Lithuania. On that day a military coup d’état replaced the democratically elected government with the authoritarian government led by ultra-conservative Lithua- nian Nationalist Union (Tautininkų sąjungos) party leader Antanas Smetona. The new government increased the control of various means of mass communication. In 1932 Film censorship law was passed, which created one centralised institution to censor all films shown in Lithuania (before this law, censorship was sporadic and done by different district officials). The same year Newsreels law was passed, which ordered that before any feature film screening, a Lithuanian newsreel must be shown. This law boosted the small Lithuanian film-making community. But not for long, by 1935 all rights to make Lithuanian newsreels were granted to one company run by filmmaker Jurgis Linartas, and old acquaintance of Anta- nas Smetona. From then on, only the Lithuanian newsreels produced by Jurgis Linartas could be shown in theatres. By means of censorship and control of news- reel production, Antanas Smetona’s regime tried to create an alternative reality to be shown in cinemas. But the new reality not only contrasted with real life too much, its making was too much of a task to handle by the regime. Audience reac- tion to Antanas Smetona’s period newsreels and their shortcomings, show us the construction of ideal image of Lithuania failed in interwar Lithuanian newsreels.

Introduction. The article examines the reaction of American diplomatic, political and media circles, who were involved in the development of the US political course and the formation of mass sentiments, to the crisis in Czechoslovakia in February 1948. It reveals connections between the perceptions of political processes in Eastern Europe by various segments of the American political elite and the nature of political decisions made by the US government. Methods. The research is based on archival documents and articles of leading American papers. Their analysis allows us to consider the transformation of the image of Czechoslovakia, perceptions of its domestic and foreign policy, the evolution of assessments of Czechoslovak realities in the US, depending on the domestic and international situation and changing world situation. Analysis. In February 1948, during the tense political crisis, a communist regime was established in Czechoslovakia. This event completed the creation of the Soviet bloc in Europe, and influenced the development of the US containment policy towards the USSR and the escalation of the Cold War. The February crisis caused a tangible reaction in the United States. It was considered in American media, diplomatic and political circles in general context of growing international tension and Soviet-American controversies. Results. The author concludes that the US government was convinced that the communists’ coup d’état was inspired by the Kremlin. The Americans were shocked by its suddenness and speed, the lack of resistance from democratic forces. This effect was used by the US government to whip up anti-Soviet sentiments and to adopt the Marshall Plan.

The article is devoted to the understanding of the Russian culture as a phenomenon of Eastern Christian civilization. The author analyzes the main historical stages of the formation of the Russian culture in its interrelation with religion, worldview and social political life of the corresponding period against the background of substantial facts, principally based on the Russian literature and philosophy. Proceeding from the principled diagram of civilization as a concentric system of social casings, located around the religious valuables kernel, the author keynotes the continuity of the country’s cultural code despite the revolutionary shifts in time, irrespective of the existence of the Peter the Great Western-like reform, February or October coup d’état in 1917 or collapse of the USSR late in XX century. The basic methodological categories of the given analysis are the paradigms of the classical, modernist and post modernist style as integral features of history and theory of the Russian Orthodox civilization on the whole, starting from Baptizing of the Russ and ending with the contemporary crucial stage of its existence. The principled attention is drawn towards the general European and world context, which take place in this country’s culture and which on the one hand are an aspect of the global ideological development, and on the other are the unique creative acts of our centuries-old tradition. In this aspect this country’ spiritual culture with all its worldwide nature (Dostoevsky F.M.), early XXI century is becoming a kind of an alternative for a post modernist destruction of a man’s image as an integral being. The utmost expression of the latter are the trans humanistic tendencies in the “decline of Europe”, threatening to turn Homo Sapiens into an artificial cyborg.

„Crossroads images”, as Régine Robin called them, monuments are central to processes of appropriation or disavowal of the past, while preserving their status as symbols of identity for individuals, various groups, a city, and the nation. They are concrete images of the relation to the past of the community that builds and, sometimes, destroys them. They can also be vandalized when changes in society occur, especially during revolutions and coups d’état. After the fall of the communism, the fate of the monuments built during the old regime can be broken down into two contrasting categories: those illustrating communist ideological figures and symbols were dismantled; those representing national heroes, however, remained standing, becoming objects of new politics of memory. Furthermore, new personalities and symbols joined existing monuments as key individuals for post-communist national memory were commemorated: anticommunist fighters, members of the Romanian royal family, or interwar politicians. The accession to the European Union was also inscribed in Romania’s memorialization practices, as monuments dedicated to leading European figures have been erected.

Lyric poetry as a tool to unify language and politics points of view. We propose to examine how lyric poetry was used as a politic tool by French kings of the Renaissance period (1515–1589). In France, the building of a specific identity starts with François I Ordonnance de Villers-Cotterêts (1539): all official documents previously in Latin, had now to be in French. The second act was Defence et Illustration de la langue française published by Joachim du Bellay in 1549 ruling on the use of vernacular language in lyrical poetry. Both events gave impetus to the unification of the language, not only in official documents but also in everyday life. As each province had its own idioms, the proposal was ambitious. We focus on Ronsard, the most representative poet of the catholic party during the civil wars of religion, which begin in 1562. In 1566 Ronsard begins his politic career with Les Hymnes, a long poem that celebrates on the catholic dynasty of the Valois family. Agrippa d’Aubigné, as a protestant poet, appreciate the poem enough to recommend it to everybody – lyric poetry rising above religious opinion. After the death of Henri II, Ronsard became a sort of diarist of Catherine de Medici’s politics, as expressed in his Discours des misères de ce temps 1562 and Continuation du discours des misères de ce temps. These texts, which justify the catholic positions of the queen, were published in 10-page booklets to be accessible to the population. The protestants poet including Chandieu, gave a violent answer to these one sided catholic texts. For all the Calvinist, mass is a disgusting ‘théophagie’. During her regency, Catherine de Medici organised a two-year (1562– 1564) visit around the kingdom with her son, Charles IX, in order for people to meet their king. This would be today a sort of ‘enterprise of communication’. It was never done before. Ronsard was required, as a spokesman, to follow the huge royal caravan, contributing to the development of words and new forms of lyric poetry. He wrote various entertainments according to the occasion or place of performance, later collected in Elegies, Mascarades et Bergeries, published by Buon in 1566. After the court returned to Fontainebleau and Paris, Ronsard continued La Franciade, a text he began in 1549. He was also required to manage the reception of Polish ambassadors who came to Tuileries and Fontainebleau to fetch the duke of Alençon (the future king Henri III of France) as new elected polish king. The official artist Antoine Caron has left paintings and drawings of these entertainments. Ronsard’s politic works in connection with the poets of the period change not only the language but also the way of thinking as it was the first step to centralism, which was the aims of the French kings. The same phenomenon took place in the nineteenth century, after the French Revolution in 1789, when poets were needed to bring the people together during a period of inspiration that drew them away from violence. They built a new image of the Renaissance, mixing history and imagination. In 1851, Les Châtiments, in which the poem titled “Le manteau Imperial” (1853) is one of the most ferocious, Victor Hugo protested against “le coup d’état” of Napoléon III. This text denied that Napoleon III was the fair successor of Napoleon I. To place France in context in the history of humanity, Hugo published La Légende des siècles (1859), a long text in alexandrine form which recalled the theme of Franciade: both texts aim to enshrine the history of the French kingdom. In Estonia, when Estonians needed to assert the history of their origins, the same phenomenon took place in 1857 with Kreutzwald’s Kalevipoeg. Lyric poetry is used in tension periods to claim a strong, original and uniform voice in the face of difficulties. In France, in the sixteenth century, lyric poetry was at the origin of a new way of life.

À leur apogée, les Expositions universelles ou internationales, marques des processus de mondialisation et de modernisation, ne manquaient pas une participation chinoise de multi-forme et multi-niveau dans le principal pays organisateur, la France. L’étude de la présence chinoise suit chronologiquement ces grandes manifestations déroulées à Paris, cas par cas, durant près d’un siècle. Les représentations traitées évoluaient avec le temps, selon le contexte international, la relation franco-chinoise et le régime politique. La question d’éclairer les faits et de préciser les limites de la place de ce pays aux Expositions universelles françaises se situe à l’origine de la présente étude. À la fin de la dynastie, des Douanes maritimes impériales sous la direction des étrangers influençaient fortement les procédures d’organisation. Témoins de la mutation de la vie économique, des pavillons nationaux à Paris dévoilaient tant le déséquilibre de la répartition géographique de commerce que la disparité de la structure industrielle dans ce pays. De manière parallèle, des manifestations culturelles et artistiques présentaient une continuité survivant aux changements. De plus, l’analyse de ces participations permet d’examiner l’éventuelle capacité de se présenter sur l’échiquier international, ainsi que d’évaluer de premiers efforts d’industrialisation chinoise. Cette thèse a pour ambition de dresser un bilan des participations chinoises en France, afin de contribuer à l’un des aspects de l’histoire des expositions de la Chine moderne
In their heyday, the World’s fairs, landmarks of the processes of globalization and modernization, did not lack a Chinese participation of multiform and multi-level in the main organizing country, France. The study of the Chinese presence follows chronologically these great events held in Paris, case by case, for nearly a century. The representations treated evolved with time, according to the international context, the Franco-Chinese relationship and the political regime. The question of clarifying the facts and specifying the limits of the place of this country in the French World’s fairs is the origin of the present study. At the end of the dynasty, imperial maritime customs under the direction of foreigners strongly influenced the organizational procedures. Witnessing the mutation of economic life, national pavilions in Paris revealed both the imbalance of the geographical distribution of trade and the disparity of the industrial structure in this country. At the same time, cultural and artistic events presented a continuity that survived the changes. Moreover, the analysis of these participations allows us to examine the possible capacity to present itself on the international scene, as well as to evaluate the first efforts of Chinese industrialization. This thesis aims to draw up an assessment of Chinese participations in France, in order to contribute to one aspect of the history of exhibitions in modern China

Abstract: The interest of major space agencies in the world for vision sensors in their mission designs has been increasing over the years. Indeed, cameras offer an efficient solution to address the ever-increasing requirements in performance. In addition, these sensors are multipurpose, lightweight, proven and a low-cost technology. Several researchers in vision sensing for space application currently focuse on the navigation system for autonomous pin-point planetary landing and for sample and return missions to small bodies. In fact, without a Global Positioning System (GPS) or radio beacon around celestial bodies, high-accuracy navigation around them is a complex task. Most of the navigation systems are based only on accurate initialization of the states and on the integration of the acceleration and the angular rate measurements from an Inertial Measurement Unit (IMU). This strategy can track very accurately sudden motions of short duration, but their estimate diverges in time and leads normally to high landing error. In order to improve navigation accuracy, many authors have proposed to fuse those IMU measurements with vision measurements using state estimators, such as Kalman filters. The first proposed vision-based navigation approach relies on feature tracking between sequences of images taken in real time during orbiting and/or landing operations. In that case, image features are image pixels that have a high probability of being recognized between images taken from different camera locations. By detecting and tracking these features through a sequence of images, the relative motion of the spacecraft can be determined. This technique, referred to as Terrain-Relative Relative Navigation (TRRN), relies on relatively simple, robust and well-developed image processing techniques. It allows the determination of the relative motion (velocity) of the spacecraft. Despite the fact that this technology has been demonstrated with space qualified hardware, its gain in accuracy remains limited since the spacecraft absolute position is not observable from the vision measurements. The vision-based navigation techniques currently studied consist in identifying features and in mapping them into an on-board cartographic database indexed by an absolute coordinate system, thereby providing absolute position determination. This technique, referred to as Terrain-Relative Absolute Navigation (TRAN), relies on very complex Image Processing Software (IPS) having an obvious lack of robustness. In fact, these software depend often on the spacecraft attitude and position, they are sensitive to illumination conditions (the elevation and azimuth of the Sun when the geo-referenced database is built must be similar to the ones present during mission), they are greatly influenced by the image noise and finally they hardly manage multiple varieties of terrain seen during the same mission (the spacecraft can fly over plain zone as well as mountainous regions, the images may contain old craters with noisy rims as well as young crater with clean rims and so on). At this moment, no real-time hardware-in-the-loop experiment has been conducted to demonstrate the applicability of this technology to space mission. The main objective of the current study is to develop autonomous vision-based navigation algorithms that provide absolute position and surface-relative velocity during the proximity operations of a planetary mission (orbiting phase and landing phase) using a combined approach of TRRN and TRAN technologies. The contributions of the study are: (1) reference mission definition, (2) advancements in the TRAN theory (image processing as well as state estimation) and (3) practical implementation of vision-based navigation.
Résumé: L’intérêt des principales agences spatiales envers les technologies basées sur la vision artificielle ne cesse de croître. En effet, les caméras offrent une solution efficace pour répondre aux exigences de performance, toujours plus élevées, des missions spatiales. De surcroît, ces capteurs sont multi-usages, légers, éprouvés et peu coûteux. Plusieurs chercheurs dans le domaine de la vision artificielle se concentrent actuellement sur les systèmes autonomes pour l’atterrissage de précision sur des planètes et sur les missions d’échantillonnage sur des astéroïdes. En effet, sans système de positionnement global « Global Positioning System (GPS) » ou de balises radio autour de ces corps célestes, la navigation de précision est une tâche très complexe. La plupart des systèmes de navigation sont basés seulement sur l’intégration des mesures provenant d’une centrale inertielle. Cette stratégie peut être utilisée pour suivre les mouvements du véhicule spatial seulement sur une courte durée, car les données estimées divergent rapidement. Dans le but d’améliorer la précision de la navigation, plusieurs auteurs ont proposé de fusionner les mesures provenant de la centrale inertielle avec des mesures d’images du terrain. Les premiers algorithmes de navigation utilisant l’imagerie du terrain qui ont été proposés reposent sur l’extraction et le suivi de traits caractéristiques dans une séquence d’images prises en temps réel pendant les phases d’orbite et/ou d’atterrissage de la mission. Dans ce cas, les traits caractéristiques de l’image correspondent à des pixels ayant une forte probabilité d’être reconnus entre des images prises avec différentes positions de caméra. En détectant et en suivant ces traits caractéristiques, le déplacement relatif du véhicule (la vitesse) peut être déterminé. Ces techniques, nommées navigation relative, utilisent des algorithmes de traitement d’images robustes, faciles à implémenter et bien développés. Bien que cette technologie a été éprouvée sur du matériel de qualité spatiale, le gain en précision demeure limité étant donné que la position absolue du véhicule n’est pas observable dans les mesures extraites de l’image. Les techniques de navigation basées sur la vision artificielle actuellement étudiées consistent à identifier des traits caractéristiques dans l’image pour les apparier avec ceux contenus dans une base de données géo-référencées de manière à fournir une mesure de position absolue au filtre de navigation. Cependant, cette technique, nommée navigation absolue, implique l’utilisation d’algorithmes de traitement d’images très complexes souffrant pour le moment des problèmes de robustesse. En effet, ces algorithmes dépendent souvent de la position et de l’attitude du véhicule. Ils sont très sensibles aux conditions d’illuminations (l’élévation et l’azimut du Soleil présents lorsque la base de données géo-référencée est construite doit être similaire à ceux observés pendant la mission). Ils sont grandement influencés par le bruit dans l’image et enfin ils supportent mal les multiples variétés de terrain rencontrées pendant la même mission (le véhicule peut survoler autant des zones de plaine que des régions montagneuses, les images peuvent contenir des vieux cratères avec des contours flous aussi bien que des cratères jeunes avec des contours bien définis, etc.). De plus, actuellement, aucune expérimentation en temps réel et sur du matériel de qualité spatiale n’a été réalisée pour démontrer l’applicabilité de cette technologie pour les missions spatiales. Par conséquent, l’objectif principal de ce projet de recherche est de développer un système de navigation autonome par imagerie du terrain qui fournit la position absolue et la vitesse relative au terrain d’un véhicule spatial pendant les opérations à basse altitude sur une planète. Les contributions de ce travail sont : (1) la définition d’une mission de référence, (2) l’avancement de la théorie de la navigation par imagerie du terrain (algorithmes de traitement d’images et estimation d’états) et (3) implémentation pratique de cette technologie.

Following the parliamentary coup d’état of 9 Thermidor Year II, Thermidorian politicians and publicists developed an understanding of the “reign of terror” as a bloody and pervasive tyranny almost unprecedented in history. The Terror was given shape by a massive outpouring of printed descriptions and images of violence and personal suffering. This massive infusion of pathos into politics helped to magnify the psychological impact of the violence of 1793–94. The organizing strategies, images, and tropes used to represent violence during the Thermidorian period suggest that the suffering of individuals was successfully communicated—and systematically exploited—to create a wider collective trauma experienced by many more French men and women than actually suffered serious persecution in 1793–94. powerfully revived the sentimentalist idiom that had been so strangely distorted in 1793–94. Only the general amnesty of November 1795 finally blunted the power of pathos to determine political action.

A painting in the Lisbon monastery of Madre de Deus shows how the iconography of the good shepherd on the mountain, which had originated in Goa, had a lasting effect on other pictorial worlds: the figure of Saint Francis becomes a vehicle through which the iconography of the first Portuguese king can be combined in a novel way with the Brigantine iconography of the sleeping ruler of peace on the rock. A summary draws together the book’s different threads and provides an overview of the different functions of the heterogeneous images and visualizations. The global interconnections of the images are outlined and an attempt is made to explain why the most detailed visualizations were created in the regions that were furthest from the site of the coup d’état.

This artistic, practice-led PhD thesis is concerned with the potentials of polyvocality and interactive digital narrative. The practical project, Saints of Paradox, is constructed as a printed picture book that can be experienced through an Augmented Reality [AR] platform. The fictional story entails a woman who mourns the disappearance of her lover in the 1964 Brazilian coup d’état and lives for 40 years in a room of accumulated memories. IIn each illustration, the user can select three buttons on the tablet device that activates a different version of the story. Three narrators (saints) present interconnected but diverging interpretations of the events shaped by their distinct theological positions. The respective values of compassion, orthodoxy, and pragmatic realism distort details of imagery, sound, movement, and meaning. AR animated vignettes, each backed by a uniquely composed cinematic soundscape, allow characters to populate the luxuriously illustrated world. Candles flicker and burn, snakes curl through breathing flowerbeds, and rooms furnished with the contents of accumulated memories pulsate with mystery. The scanned image reviews an interactive parallax that produces a sense of three-dimensional space, functioning as a technical and conceptual component. Theoretically, the story navigates relationships between the real and the imagined and refers to magical real binary modes of textual representation (Flores, 1955, Champi, 1980; Slemon, 1988, 1995; Spindler, 1993; Zamora and Faris; 1995; Bowers, 2004). Here, meaning negotiates an unreliable, sometimes paradoxical pathway between rational and irrational accounting and polyvocal narration. The dynamics between the book and the AR environments produce a sense of mixed reality (actual and virtual). The narrative experience resides primarily in an unstable virtual world, and the printed book functions as an enigmatic unoccupied vessel. Because of this, we encounter a sense of ontological reversal where the ‘virtual’ answers the ambiguities presented by the ‘real’ (the book). In the work, religious syncretism operates as a reference to Brazilian culture and an artistic device used to communicate a negotiation of different voices and points of view. The strange and somehow congruous forms of European, African, and indigenous influences merge to form the photomontage world of the novel. Fragments of imagery may be considered semiotic markers of cultural and ideological miscegenation and assembled into an ambiguous ‘new real’ state of being that suggests syncretic completeness. Methodologically, the project emanates from a post-positivist, artistic research paradigm (Klein, 2010). It is supported by a heuristic approach (Douglass and Moustakas, 1985) to the discovery and refinement of ideas through indwelling and explicitness. Thus, the research draws upon tacit and explicit knowledge in developing a fictional narrative, structure, and stylistic treatments. A series of research methods were employed to assess the communicative potential of the work. Collaboration with other practitioners enabled high expertise levels and provided an informed platform of exchange and idea progression.

The article analyzes the main ideologemes in the Iranian English-language newspaper The Tehran Times about the Russian-Ukrainian war. Particular attention is paid to such ideologemes as “NATO-created Ukraine war”, “Western racism”, “an average European is a victim of the US policy”. The author claims that the newspaper is a repeater of anti-Ukrainian ideologemes by the Russian propaganda, including such as “coup d’état in Ukraine”, “denazification”, “special military operation”, “conflict in Ukraine”, “genocide in Donbas”, but retranslates them in a specific way: the journalists of The Tehran Times do not often use such ideologemes, but mainly ensure their functioning in the newspaper due to the biased selection of external authors (mainly from the USA), who are carriers of the cognitive curvature. The object of the research is also the manipulative techniques of the newspaper (the appeal to “common sense”, simplification of a complex problem, etc.). Methods of modeling the image of the enemy are also studied (first of all, such an enemy for the Tehran Times is the USA), among which categoricalness occupies a special place (all features of the opponent are interpreted not only at its own discretion, but indisputably; such and only such perception of the opponent is “the ultimate truth”), stereotypes (stereotypes replace the true knowledge), demonization (the opponent is portrayed as the embodiment of absolute, metaphysical evil) and asynchrony (an astronomer’s view, who sees a star as if it was the same all eternity to this point. The dynamics of history is ignored by propagandist). Keywords: ideologeme, manipulative techniques, Russia, racism, propaganda.