Academic literature on the topic 'Image (philosophie) – Culture'
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Journal articles on the topic "Image (philosophie) – Culture"
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Veríssimo Serrão, Adriana. "O Adeus à Essência. Natureza, Cultura e Carácter na Antropologia Filosófica da Época Moderna." Philosophica: International Journal for the History of Philosophy 8, no. 15 (2000): 135–49. http://dx.doi.org/10.5840/philosophica200081510.
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L’extrordinaire essor de l’intérêt anthropologique, que la seconde moitié du XVIIIème siècle a connnu dans des domaines aussi différents que les sciences de la nature ou les études géographiques et ethnologiques, a demandé à la philosophie d’élaborer, de sa part, de nouvelles bases théoriques et conceptuelles pour l’établissement d’une réflexion sur l’homme désormais libérée de l’abstraction et des dualismes de la pensée métaphysique et théologique précédente. Les notions de nature humaine et de genre humain ont permis a la philosophie de parvenir à une vision concrète et dynamique, surmontant la clôture des anciennes définitions de l’être humain comme “animal rationel” ou “image de Dieu”. Dans cet article on cherche à saisir ce mouvement d’un “adieu à l’essence” en anthropologie philosophique, en suivant les conceptions de perfectibilité dans le Discours sur l'inégalité de Rousseau, de culture dans l'Essai sur l'origine du langage de Herder et de caractère dans l’Anthropologie pragmatique de Kant.
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Malherbe, Jean-François. "La théologie dans le champ spéculatif." Thème 1, no. 1 (March 13, 2009): 101–22. http://dx.doi.org/10.7202/602384ar.
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RÉSUMÉ Dans la culture actuelle, la théologie souffre d’un discrédit qui procède de la fascination générale à l’égard de disciplines opératoires privilégiées par un monde universitaire devenu largement scientiste. La théologie elle-même entretient, sans doute involontairement, ce discrédit à partir d’une image de soi négative. Or, cette situation est totalement injustifiée aux yeux de la raison philosophique qui, à travers la mise en oeuvre de l’analyse logique des langages spéculatifs, souligne la parenté très profonde qui existe entre théologie, philosophie et sciences opératoires. De reconnaître la validité de cette perspective, la théologie posséderait toute la vis medicatrix naturae pour se remettre en accord avec elle-même et retrouver sa dignité dans le concert des disciplines universitaires.
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Ma, Shasha. "Sade and Infanticide in China: around La philosophie dans le boudoir and Justine." Human and Social Studies 7, no. 3 (October 1, 2018): 98–110. http://dx.doi.org/10.2478/hssr-2018-0028.
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Abstract The present study will introduce us into a new world of Chinese imagology in the 18th century in France. Different from the negative side of the “sinophobes” such as Montesquieu and François Melon, Sade built a universe of a perfect China in which all crimes were justified. Nevertheless, as a libertine, his point of view was also different from the famous “sinophiles”, La Mothe Le Vayer, Pierre Bayle, Leibniz or Voltaire, for example. China as imagined by Sade was full of infanticide, murder and incest. The pictorial description he uses was largely drawn from the Jesuit literature of that time and some famous travelers’ “relation”, time of the famous theological quarrels about the ritual, easily interested Sade. But, was Sade faithful to these sources or not? Could a libertine moralize about public denunciation? By this foreign image as a mirror, what did he want to explain, taking China as an example, for his own culture? We will give the answers in this article.
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Rohozha, M. М. "PHILOSOPHER IN SPACE AND TIME OF CULTURE (CHRONOTOPE OF MAÎTRE À PENSER) PART I." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 47–51. http://dx.doi.org/10.17721/ucs.2017.1.10.
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The paper deals with the research of philosophic way of life as an invariant of the Western culture. The author tries to revealthe answers to the questions: What is the influence of the time and place of life on a thinking person? Is it possible to put a question in such away? The first part of the paper gives methodological explanation for such putting the questions. Two conceptual strategies of thinking in the contemporary history of philosophy are mentioned – compartmentalismand biographical method. The latter one allows to understand philosophizing through research of maître à penser. Such approach makes possible cultural studies prospect for the life of a philosopher in the context of unique time and space. To designate the uniqueness of time and space, the category of chronotope (M. Bakhtin) is introduced in the paper. Chronotope sets condensed signs in a definite period at the result of which a unique image of a thinker is born in a definite cultural space. The Antiquity image of philosopher is Socrates. Not a biographical person but a mythologized image, Socrates entered the great time of culture and influenced on the Western civilization. Since Socrates, the philosophizing of Antiquity is considered as the spiritual exercises (P.Hadot), in which the spirit of publicity is combined with the inner dialoguewith oneself. Late Antiquity changed practical orientation ofphilosophy by contemplative one. Plotinus is considered as the example of such life style. Medieval culture transmits philosophizing from agora to the monastery, and since the 13thcentury, philosophizing came back to the city space again – tomedieval university. Two opposite images of medieval philosophers are considered, Thomas Aquinas and Siger de Brabant, who were didactic examples, full of moral content. Stories about Siger’s life were spread at once after his death as the warning from inheritance; later on hewas forgotten. Thomas Aquinas’ life is known as hagiography, didactic story free from details of private life.
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Mezhuev, Boris. "Vasily Rozanov and Moscow University." Almanac “Essays on Conservatism” 60 (December 12, 2019): 269–78. http://dx.doi.org/10.24030/24092517-2019-0-4-269-278.
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Abstract. In the article the author attempts to examine V.V. Rozanov’s early philosophic works through the prism of his declared aspiration for formulating the theoretical basics of prospective Russian science. The author comes to the conclusion that the main goal of the early pursuits of the philosopher was the wish to present to the Moscow University the image of integral science, and to the Russian culture – the new spiritual paradigm that would agree with its claim to individuality. The author notes that Rozanov’s failure in those attempts caused his affinity with the decadent circles in 1897. At the same time the author points out that the university failed to serve as support and bulwark of order for the autocracy against revolution.
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Xu, Ting. "A Comparative Analysis of “Sense of Music” and “Sense of Guilt” in Chinese and Western Films." Journal of Education and Educational Research 4, no. 1 (July 1, 2023): 11–18. http://dx.doi.org/10.54097/jeer.v4i1.9945.
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The differences between Chinese and Western cultures result in systematic differences in the forms and styles of film art, the deep psychological patterns of a culture are more or less influenced by the society and ideology that gave birth to them. However, due to the natural environment, living conditions, especially the different forms of economic production and activities, people from different religious beliefs, different spiritual cores, different cultural development models. As a form of cultural presentation, Chinese and Western films show different ways of dealing with the same type of events, as well as different narrative philosophies. This paper analyzes the “Music culture” and “Guilt culture” in the image narrative strategy of Chinese and foreign films on this subject, to explain the source of the cultural differences.
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Montesinos Castañeda, María. "Variación en la imagen de la Prudencia: entre la tradición y la «nueva visualidad»." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 153. http://dx.doi.org/10.7203/imago.11.15428.
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ABSTRACT: Although Italian influences prevail in the visual tradition of Prudence, beginning in the 15th century a new iconographic type emerges as a result of a «new visuality» deriving from French art. This innovation has been considered «monstrous» and breaking with the preceding visual tradition. However, this new visual manifestation is a result of the continuation of philosophic theories about Prudence. What is more, Italian art offers a response to the «new visuality» with another new iconographic type of the Prudence.
KEYWORDS
Prudence; Iconography; Visual Culture; Italian Art; French Art; Early Modern Age.
RESUMEN: Aunque en la tradición visual de la Prudencia imperan las influencias italianas, a partir del siglo XV surge un nuevo tipo iconográfico fruto de la «nueva visualidad» procedente del arte francés. Dicha innovación ha sido considerada «monstruosa» y rompedora con la tradición visual precedente. Sin embargo, esta nueva manifestación visual es fruto de la continuación de las teorías filosóficas sobre la Prudencia. Además, el arte italiano ofrece una respuesta a la «nueva visualidad» con otro nuevo tipo iconográfico de la Prudencia.
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Dorofeev, Daniil Yu, Roman V Svetlov, Mikhail I Mikeshin, and Marina A Vasilyeva. "Iconography of Plato in antiquity and in medieval orthodox painting." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 1 (2021): 31–52. http://dx.doi.org/10.25205/1995-4328-2021-15-1-31-52.
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The article is devoted to the topic of visualization, which is relevant for the modern world in general and scientific knowledge in particular, investigated through the image of Plato in Antiquity and in medieval Orthodox painting. Using the example of Plato’s iconography as a visual message, the authors want to show the great potential for the development of the visual history of philosophy, anthropology and culture in general, as well as the new visually oriented semiotics and semantics of the image. This approach reveals expressively and meaningfully its relevance for the study of Plato’s image, together with other ancient philosophers’ images, in Orthodox medieval churches in Greece, Serbia, Romania, Bulgaria and, of course, ancient Russia in the 15th-17th cc, allowing to see the great ancient Greek philosopher from a new perspective.
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Rohozha, M. М. "PHILOSOPHER IN SPACE AND TIME OF CULTURE (CHRONOTOPE OF MAÎTRE À PENSER) PART II." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 41–45. http://dx.doi.org/10.17721/ucs.2018.1(2).09.
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The paper deals with the research of philosophic way of life as an invariant of the Western culture. The author tries to reveal the answers to the questions: What is the influence of the time and place of life on a thinking person? Is it possible to put a question in such a way? The second part of the paper givse methodological explanation for such putting the questions. Two conceptual strategies of thinking in the contemporary history of philosophy are mentioned – compartmentalism and biographical method. The latter one allows understanding of the philosophizing through research of maître à penser. Such approach made possible cultural studies prospect for a philosopher’s life in the context of unique time and space. To designate the uniqueness of time and space, the category of chronotope (M. Bakhtin) was introduced in the paper. Chronotope sets condensed signs in a definite period of time at the result of which a unique image of a thinker is born in a definite cultural space. Uniqueness of time and space sets originality of philosophical quest of a thinker. Analysis of one’s philosophizing through the prism of one’s life allows us to compare proved and practiced dimensions, and affirm a status of “maître à penser”, if these dimensions are coincided. The second part of the paper is focused on the time and space of the epoch of Modernity, where public space of the city as a place of activity for a philosopher is inseparably linked to critically directed an self-organized general public. Special attention is focused on life activity of Albert Schweitzer and Hannah Arendt. The author concludes that unlike Antiquity and Middle Ages where we were focused on the images of philosophers, Modernity deals with personalities of philosophers. Schweitzer as well as Arendt personally testify to their life and philosophical practice. The point is that definite life experience according to personal philosophy is purely important moral milestone, transforming the person to worthy exemplary.
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Morawska, Kamila. "Gaston Bachelard’s theory of four poetic temperaments: On the affinity of the poet." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 2 (2022): 165–76. http://dx.doi.org/10.21638/spbu17.2022.202.
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If Bachelard as a philosopher of science reveals in his epistemological works the negative significance of the image as a factor inhibiting scientific progress, as well as the source of epistemological obstacles, then as a poetry philosopher he aims to determine its positive value in the poetic-oniric domain. By discovering the value of the fertility of images and the existence of material images dictated by presocratic elements of nature — fire, water, air and earth — he proves the importance and autonomy of the image in the field of aesthetics and artistic creativity. Together with the application of the method appropriate for these studies, bringing the subject closer to the subject in close subjective experience, as opposed to its “cold” form, the image becomes known as the essential activity of the psyche. Imagination, “as the first and vital function” (Bachelard) of the psyche, delves into its first being, which is an image. Imagination — so deeply inscribed in the creative, affective, but also the unconscious constitution of the subject — from the point of view of its content appears as material imagination. We know that the image gains a material meaning in contact with cosmological substances — it derives its content from the symbolism of the four elements: fire, earth, water and air — which Bachelard calls “imagination hormones” — thanks to them “man grows mentally”. This article presents the first definition of a Bachelardian image: an image as a composite and combination of archetypal forms of the unconscious that belong to man/poet with material materiality of the perceived external world independent of him.
Dissertations / Theses on the topic "Image (philosophie) – Culture"
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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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Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-08-03T17:39:44Z
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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
Books on the topic "Image (philosophie) – Culture"
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Munter, Astrid De. Philosophie du western: Image, culture et création. Bruxelles: Facultés Universitaires St. Louis, 2012.
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In/different spaces: Place and memory in visual culture. Berkeley: University of California Press, 1996.
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In/different spaces: Place and memory in visual culture. Berkeley: University of California Press, 1996.
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Luna, Sergio Martínez. Cultura visual: La pregunta por la imagen. Vitoria-Gasteiz: Sans Soleil Ediciones, 2019.
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Stephens, Mitchell. The rise of the image, the fall of the word. New York: Oxford University Press, 1998.
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Immagini differenti (Conference) (2018 Università degli studi di Udine). Immagini differenti: Problema, natura e funzione dell'immagine nelle altre culture. Milano: Mimesis, 2019.
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Prosthetic culture: Photography, memory and identity. London: Routledge, 1998.
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Sobchack, Vivian Carol. Carnal thoughts: Embodiment and moving image culture. Berkeley: University of California Press, 2004.
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Mythologies of vision: Image, culture, and visuality. New York: Peter Lang, 1999.
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Carnal thoughts: Embodiment and moving image culture. Berkeley: University of California Press, 2004.
Find full textBook chapters on the topic "Image (philosophie) – Culture"
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Tosaki, Eiichi. "Appreciation of Visual Rhythm: Husserl’s ‘Image-Object’ and Wittgenstein’s ‘Seeing-as’." In Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures, 179–210. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-1198-0_6.
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Joy, Morny. "The Gifts of Wisdom: Images of the Feminine in Buddhism and Christianity." In Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures, 195–218. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-43189-5_13.
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Krafft, Andreas M., JohnBosco Chika Chukwuorji, Rajneesh Choubisa, Stella Conte, Valle Flores-Lucas, Tharina Guse, Elżbieta Kasprzak, et al. "Long-term Future Expectations and Collective Hope." In Hope across cultures, 103–65. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-24412-4_4.
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AbstractThe purpose of this chapter is to extend and explore the definition of collective hope as the shared desire for a better future not only for oneself, but for the entire social community, the belief that a better future for all is possible but not necessarily guaranteed or even likely, and the trust in the human capacity to cooperate and support each other towards the realization of a better world despite current struggles and challenges. Conceptually we chose an interdisciplinary approach, integrating insights from Positive Psychology, Futures Studies, and Pragmatic Hope Philosophy. After introducing the concept of collective hope we present the nature and role of images of the future in terms of probable, possible and desired future trends and scenarios. Based on data collected with the Hope Barometer across 12 countries in November 2019 (N = 10,665), we evaluated people’s long-term future expectations regarding the general quality of life, social trends and expected as well as wished-for future scenarios. We then related these expectations to perceived hope and social well-being. Our results suggest that long-term social expectations are significantly more pessimistic in European than in non-European countries and that personal hope levels are significantly higher in countries outside Europe. Moreover, an overwhelming majority of participants in this study preferred a social-sustainable over an individualist-competitive future scenario. Whereas future prospects had a significant effect on hope and (social) well-being, desirable images of the future hardly displayed an effect. Our findings highlight the importance of encouraging people to develop new positive pictures of the future which could foster hope, belief, and trust in a flourishing and sustainable world and to get engaged in its realization.
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Pollock, Mary Sanders, and Catherine Rainwater. "Introduction." In Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy and Popular Culture, 1–17. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09411-7_1.
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Addison, Lindsay McLean. "The Black Stallion in Print and Film." In Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy and Popular Culture, 163–75. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09411-7_10.
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Powici, Christopher. "“Who are the Bandar-log?” Questioning Animals in Rudyard Kipling’s Mowgli Stories and Ursula Le Guin’s “Buffalo Gals, Won’t You Come Out Tonight”." In Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy and Popular Culture, 177–94. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09411-7_11.
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Banash, David. "To the Other: The Animal and Desire in Michael Field’s Whym Chow: Flame of Love." In Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy and Popular Culture, 195–205. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09411-7_12.
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McKay, Robert. "“Identifying with the Animals”: Language, Subjectivity, and the Animal Politics of Margaret Atwood’s Surfacing." In Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy and Popular Culture, 207–27. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09411-7_13.
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Smith, Julie A. "Sensory Experience as Consciousness in Literary Representations of Animal Minds." In Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy and Popular Culture, 231–46. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09411-7_14.
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Gadd, Tim. "Human-Animal Affiliation in Modern Popular Film." In Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy and Popular Culture, 247–59. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09411-7_15.
Full textConference papers on the topic "Image (philosophie) – Culture"
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Zulkarnain, Alfiansyah, Nita Virena Nathania, Putu Widyayana Putra, and Priscilla Agatha. "Applying Balinese Philosophy ‘Rwa Bineda’ concept on character & environment design in 3D animated VR Short Film “GEDE”." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-17.
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ZULKARNAIN, ALFIANSYAH, NITA VIRENA NATHANIA, PUTU WIDYAYANA PUTRA, and PRISCILLA AGATHA. "Applying Balinese Philosophy ‘Rwa Bineda’ concept on character & environment design in 3D animated VR Short Film “GEDE”." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-17.
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Skender, Lana. "THE SPECTATOR PHENOMENON AND THE POWER OF THE GAZE." In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/gonk4945.
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This paper explores the relevant knowledge in philosophy, psychology, art theory, and visual culture dealing with the phenomenon of the spectator. Spectatorship is explored through complex relationships between authors, works, observers, and the environment, which condition the view and consider how social and cultural patterns mediate the image. In this approach, interest is no longer primarily focused on the visual object but on visuality, a complex set of conditions in which a work of art is created, observed, and interpreted, researching the history of the gaze theory: perception and its physiological and cultural conditioning, the implicitness of the observer in the aesthetics of the reception, psychoanalytic theories about the constitution of the subject with a gaze, feminist ideas of voyeurism, and the male gaze, theories on technological and cultural conditioning of the scopic regimes, the cultural history of gaze and the gaze politics that approach viewing as possession of power. An analysis of the theory shows that the role of the body as a perceiving mechanism is present in the naturalistic approach to observation but is avoided due to its subjectivity and relativity. Although it was created in the 1960s, the theory of gaze has roots in the hermeneutics of art history and the aesthetics of reception. The cultural determination of gaze, its dependence on social norms, and the technological conditions of the medium indicate that our view of art and the visual world has been learned, which opens spaces for the acceptance of other gazes that are equally valuable.
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Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago." In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.
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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Martynova, O. A. "THE IMAGE OF RUSSIA IN THE WORKS OF K. MARX AND FR. ENGELS." In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.18.
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Milaeva, O. V., and V. B. Dumnov. "«WHEN THE PAINT WILL DRY OUT, IT WILL TURN INTO GUNPOWDER»: MEXICAN MURALISM AS A REFLECTION OF THE IMAGES OF THE REVOLUTION." In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.13.
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Юрченко, С. А., Е. Е. Докучаева, and Е. В. Полякова. "THE “UNQUENCHABLE” SYMBOL OF CULTURE. THE IMAGE OF LIGHT IN A TAPESTRY ON THE EXAMPLE OF THE WORKS BY ALEXANDER GORAZDIN." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.32.
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Свет — один из важнейших архетипов русской культуры. Это отразилось в древних символах, орнаментах, иконописи, церковных фресках, а также в живописи, графике, почти во все исторические эпохи нашей страны. «Световой» философией пронизаны многие работы русских художников различных направлений, но до сих пор данная тема не была рассмотрена в гобелене. Проблема «света» в художественном гобелене будет раскрыта на основе произведений художника, представителя московской школы А. С. Гораздина. Light is one of the most significant archetypes in Russian culture. It reflected in ancient symbols, ornaments, iconography, church frescoes, as well as in painting and graphics in almost all historical epochs of our country. The “light” philosophy permeates many works by Russian artists of various directions. But so far this topic has not been considered in the tapestry. The problem of “light” in the tapestry will be explored on the example of the works of the Moscow School artist Alexander Gorazdin.
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Fuentes Cid, Sara. "El archivo de imágenes como metodología de investigación interdisciplinar." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9571.
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Las últimas décadas del siglo XX fueron escenario de innúmeras transformaciones a nivel epistémico (Khun, Feyerabend, Latour). En este contexto surgen un conjunto de investigaciones que cuestionan la posibilidad y naturaleza de la relación entre Arte y Ciencia. Desde aquellos que las colocan en oposición, como aquellos que defienden el desarrollo de una "tercera cultura" (Brockman) capaz de integrar el campo tecno-científico con el campo de las Humanidades y las Artes.Esto ha generado una serie de espacios interdisciplinares donde investigadores de diferentes procedencias colaboran entre sí, como el Science-Art-Philosophy Lab del CFCUL, donde se enmarca esta investigación.Con el objetivo de identificar y cuestionar tanto las articulaciones y complementariedades como los distanciamientos entre Arte y Ciencia, nos centraremos en una de las zonas fundamentales de intersección entre ambas, cuyo estudio ha captado gran atención en los años recientes: se trata del estudio de la imagen como dispositivo de producción de conocimiento en las distintas áreas disciplinares.La presente propuesta pretende proporcionar una clave metodológica para la investigación de esta relación entre campos de saber en la actualidad, centrándonos en el estudio de las posibilidades cognitivas de la imagen y en su papel en la construcción del pensamiento. Entraremos en el tema a través de un proyecto en curso en la Universidad de Lisboa, el Center for Image in Science and Art. CISA_UL es un archivo abierto que cuenta con cientos de imágenes de artistas y científicos internacionales, constituido con el propósito de tornar posible la producción de taxonomías que ayuden a comparar imágenes científicas y artísticas, exponiendo sus afinidades y diferencias. Pero su objetivo principal, es testar una metodología artística de investigación (como es la confección de archivos de imágenes con fines alternativos al meramente documental) para profundizar en las relaciones complejas que pueden darse entre Arte y Ciencia.
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Lungu, Georgiana Maria. "THE ROLE OF FINANCIAL INDICATORS IN FINANCIAL COMMUNICATION TO SHIPBUILDING ENTITIES." In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s03.035.
Full textAbstract:
The key component of the institutional communication of the economic entity is the financial communication. Financial communication is at the crossroads of many areas, including finance, marketing and law, has many characteristics, and its purpose is to reflect the values, philosophy and culture of the economic entity. The message of financial communication is to create and manage the image of the economic entity for all its components. Financial communication is comparable to marketing in that it is a method used, in particular, by listed corporations to influence the market value of shares. As a result, it is used as a means of attracting new investors, retaining individual employees and shareholders, and evaluating the actions of the economic entity. Through this paper, I want to analyze the main indicators of two Romanian entities in the field of shipbuilding and to establish their potential on the national market. The quality of accounting information is more than just a support for managers' choices; quality can also be highlighted through the interaction and communication between the departments of an economic entity, in particular it reflects the level of collaboration and cooperation in order to implement the decisions and strategies of the entity. The evaluation of the quality of information, in order to communicate, is done through the prism of three variables: technical elements, analysis of the financial image of the economic entity and other qualitative elements.
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SOLE GRAS, JOSEP MARIA. "A PROPÓSITO DEL TERRAIN VAGUE. Una relectura contemporánea del concepto del vacío urbano a partir de su imagen." In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2023. http://dx.doi.org/10.5821/siiu.11978.
Full textAbstract:
Twenty-five years after the Catalan architect, philosopher and urban critic Ignasi de Solà-Morales coined the term terrain vague to conceptually delineate the physical dimension and spiritual essence of the different urban voids, expectant landscapes and imprecise confines of the contemporary city, we understand that the undeniable validity of the notion, its profuse disciplinary acceptance and, above all, its diffusion in the fields of urban theoretical production, merit a systematic review of its evolution. In this sense, this research is based on the appraisal of the cultural conditions that accompanied its original proposal and reconstructs a non-linear path through the references, works and authors cited, thus interweaving a galaxy of notions, relationships, and drifts that question, in the face of the prevailing uncertainty of our days, the very foundations of urban criticism. Keywords: terrain vague, urban void, latency image, expecting landscape Veinticinco años después que el arquitecto, filósofo y crítico catalán Ignasi de Solà-Morales acuñara el término terrain vague para referirse y acotar conceptualmente la dimensión física y espiritual de los distintos vacíos urbanos y límites imprecisos que caracterizan los paisajes expectantes de la ciudad contemporánea, entendemos que tanto la vigencia incontestable de la noción como su profusa aceptación y difusión disciplinar meritan una revisión sistemática de su evolución. En este sentido, esta investigación parte del análisis crítico de los condicionantes culturales que acompañaron su planteo original y reconstruye un recorrido no lineal a través de las referencias, obras y autores citados entretejiendo, con ello, una galaxia de nociones, relaciones y derivas que cuestionan, de la mano de la incertidumbre dominante de nuestros días, los fundamentos mismos de la urbanidad. Palabras clave: terrain vague, vacío urbano, imagen latente, paisaje expectante