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1
Haddour, Azzedine. « Bread and Wine : Bourdieu's Photography of Colonial Algeria ». Sociological Review 57, no 3 (août 2009) : 385–405. http://dx.doi.org/10.1111/j.1467-954x.2009.01846.x.
Texte intégralRésumé :
The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre ‘Le colonialisme est un système’ situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie, their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France.
2
Fox, Paul. « An unprecedented wartime practice : Kodaking the Egyptian Sudan ». Media, War & ; Conflict 11, no 3 (13 juillet 2017) : 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
3
Moore, David. « The Lisa and John Slideshow (2017) : A Play about Photography ». Arts 12, no 3 (26 mai 2023) : 109. http://dx.doi.org/10.3390/arts12030109.
Texte intégralRésumé :
The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the former project were captured, as it reaches into photographs, opening contextual focus on the social, political and relational aspects of production. This paper is drawn from my Ph.D. thesis, What the Subject Does. Lisa and John and Pictures from the Real World submitted to the University of Sussex in December 2022. The question asked within this commentary is: How can unequal power relations within photographic representation of working-class communities be renegotiated through trans-media practice and the use of theatre?
4
Robbins, Derek. « Gazing at the Colonial Gaze : Photographic Observation and Observations on Photography Based on a Comparison between Aspects of the Work of Pierre Bourdieu and Jean-Claude Passeron ». Sociological Review 57, no 3 (août 2009) : 428–47. http://dx.doi.org/10.1111/j.1467-954x.2009.01848.x.
Texte intégralRésumé :
The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products.
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Kelly, Marjorie, et Sara Essa Al-Ajmi. « From Invisible to Actualized : Imagery and Identity in Photos of Women in the Gulf ». Hawwa 19, no 1 (22 février 2021) : 51–75. http://dx.doi.org/10.1163/15692086-bja10017.
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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-political commentary. The media coverage of Qatar’s Shaykha Mūza is analyzed in terms of her use of clothing as nonverbal communication and as a form of soft-power politics. It is followed by a discussion of the rules – formal and informal – for publishing photos of females. The paper concludes with a survey of Gulf females’ use of selfies. Thus, three aspects of photography – as art, as photojournalism, and as private communication – demonstrate how Gulf women visually represent their identities.
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Stępniak, Krzysztof. « The image of Russia’s aggression against Ukraine on the front pages of “Rzeczpospolita” and “Gazeta Wyborcza” – an analysis of the framing of war photographs ». Studia Medioznawcze 24, no 4 (30 décembre 2023) : 92–109. http://dx.doi.org/10.33077/uw.24511617.sm.2023.4.782.
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This article aims to illustrate the initial weeks of Russia’s full-scale invasion of Ukraine, as well as the preceding period, through press photography displayed on the front pages of two influential Polish daily newspapers, “Gazeta Wyborcza” and “Rzeczpospolita”, from February 1 to March 31, 2022. Research method: The study utilizes visual framing theory, a less commonly applied approach in visual research compared to classical framing analysis and not as extensively discussed in media studies. Results: The investigation reveals that “Gazeta Wyborcza” and “Rzeczpospolita” did not significantly differ in their daily visual representation of Russia’s invasion of Ukraine. Both newspapers predominantly featured photographs highlighting the conflict frame. Frames focusing on political leadership and military aspects were less prominent. High saturation of photography with the frame of human interest was revealed. Originality/Cognitive value: This article contributes to the understanding of how Russia’s invasion of Ukraine is depicted in the non-verbal content of leading Polish dailies.
7
Ptiček, Petra, Ivana Žganjar, Miroslav Mikota et Mile Matijević. « Technical Aspects of Web Photography as a Medium of Tourism Development ». Tehnički glasnik 15, no 4 (1 novembre 2021) : 467–74. http://dx.doi.org/10.31803/tg-20210506103212.
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Information and communication technology is an important factor for national, regional and local sustainable tourism development according to the long-term Croatian national strategic plan. New forms of information, such as web sites; new media, materials, political and social change, all influence tourists’ decisions when choosing specific destinations. The aim of this research is to determine, based on the analysis of the tourism media campaign, the relationship between new communication trends and the application of photography as a medium that influences the experience when choosing a destination and the importance of crucial information factors on web pages based on their technical and visual characteristics.
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Topolska, Anna. « Shaping Memory through Visuality ». Journal of Educational Media, Memory, and Society 15, no 1 (1 mars 2023) : 62–79. http://dx.doi.org/10.3167/jemms.2023.150104.
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Abstract This article focuses on war photography as a cultural phenomenon as used in secondary school history textbooks in the context of post-1989 Poland. It argues that the focus on the Second World War, its military aspects, and the threads previously erased from public memory, was specific to the Polish context. It also proves that the visuality of Polish textbooks after 1989 tends to correspond with the broader Western iconosphere as a result of political and cultural transformation. The mechanisms of visual communication underpinning these tendencies consist in several overlapping layers of experiencing and perceiving photography, such as studium, punctum (Roland Barthes), and spectrality (Michel de Certeau, Maciej Bugajewski). The article also postulates a visual literacy that holistically considers all of these aspects.
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Antola, Alessandra. « Ghitta Carell and Italian studio photography in the 1930s ». Modern Italy 16, no 3 (août 2011) : 249–73. http://dx.doi.org/10.1080/13532944.2011.586499.
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This article explores the issue of elite representation through photography during the 1930s in Italy. It examines how modern technology affected representation and refers specifically to the work of Ghitta Carell, a photographer who became very successful by portraying prominent Fascist men and women in Italy, including the Duce. Images of the dictator had been continually developed since the late 1920s and frequent and various representations of his person, including the face, were pervasive. Carell's idealised style was much appreciated by high society and Fascist officials alike, while her work also has a darker emotional content that borrows from a painterly tradition. Although not engaged directly by the regime, Carell's work has to be considered as both separate from and complementary whilst also adding to the Fascist aesthetic. She was complicit with the cult of the Duce while revealing aspects of Mussolini's personality that other photographers avoided or missed.
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Sweetman, Paul. « Revealing Habitus, Illuminating Practice : Bourdieu, Photography and Visual Methods ». Sociological Review 57, no 3 (août 2009) : 491–511. http://dx.doi.org/10.1111/j.1467-954x.2009.01851.x.
Texte intégralRésumé :
Having taken taking as one of its starting points a concern to avoid fetishising method – or employing any form of method for its own sake – this paper then argues that visual methods of research may be particularly helpful in investigating areas that are difficult otherwise to verbalise or articulate. These include Bourdieu's understanding of habitus; our predisposed ways of being, acting and operating in the social environment that Bourdieu himself suggests are ‘beyond the grasp of consciousness, and hence cannot be touched by voluntary, deliberate transformation, cannot even be made explicit’ ( Bourdieu, 1977 : 94). Having outlined what Bourdieu means by habitus and considered some of the difficulties surrounding its operationalisation, the paper goes on to consider Bourdieu's own use of photography and understanding of photographic practice. It is then argued that we can move beyond Bourdieu's position by employing visual methods specifically to uncover and illuminate aspects of habitus. Where research participants are directly involved in this process this also means that visual methods can be potentially transformative, allowing for the development of forms of critical self-awareness amongst research participants of the sort that Bourdieu attributes to ‘socioanalysis’ ( Bourdieu, 1999 : 611).
11
Yu-Hsing Chen, Jasmine. « Performing Chineseness Overseas ». Journal of Chinese Overseas 18, no 1 (18 mars 2022) : 90–117. http://dx.doi.org/10.1163/17932548-12341457.
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Abstract This article analyzes how the photographs of overseas Chinese performing Peking opera projected the Chinese nationalism of the Kuomintang (KMT) across Taiwan (the Republic of China, ROC) and the Philippines during the Cold War. The analysis focuses on images in the periodical Drama and Art (1964–1972), examining theater and photography as mediums that worked together to (re)shape a ROC-approved vision of “Chineseness.” In addition to studying the circulation of these photographs, the discussion further looks into those aspects of the performances rendered invisible by the periodical, explicating how the Chineseness of overseas Chinese was produced and performed based on the KMT’s needs. Peking opera performance also functioned as a form of “emotional compensation” for Chinese-Filipino performers to act out fantasies of power while facing anti-Chinese sentiment in the Philippines. This article therefore argues that Peking opera was intricately linked to the conceptual construction of overseas Chineseness and its embodied practice.
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Senaharjanta, Ignasius Liliek, Andi Mirza Ronda et Mikhael Dua. « Reflections on Photos of Political Power and Public Perception of the Joko Widodo-K.H. Ma'ruf Amin and Prabowo Subianto-Sandiaga Uno Victory Declaration Photos ». Indonesian Journal of Social Science Research 4, no 2 (27 novembre 2023) : 149–54. http://dx.doi.org/10.11594/ijssr.04.02.07.
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Photography can be used as a means to convey a narrative or a message behind the presented visuals. In the context of political communication, narrative has the power to influence and win opinions. In regard to this, one particular political narrative at which it is interesting to take a closer look among the political moments in Indonesia is the victory declaration in the 2019 Presidential Election contest. Victory declaration is a political phenomenon that occurred in the 2014 and 2019 Presidential Elections. In both occasions this event led to riots.
Based on the description above, the research questions are: (1) How is visual photography produced as a medium to convey narratives within political message? and (2) How does the public as viewers or recipients of political messages perceive political messages in the visual form? This study aimed to identify the meaning of political narratives and the interrelationships of photography in the political context in Indonesia.
The method employed in this study was Paul Ricœur’s Hermeneutics, with reference to semantic understanding, reflective understanding and existential understanding. An interpretive paradigm with data sources in the form of declaration photos, interviews with photographers and viewers.
Our results showed that political success depends on individual aspects in carrying out their roles. In this context these roles of the individuals refer to political figures, agents and supporters. Interrelationships between roles in such group of individuals mainly revolve around cooperation in realizing common prosperity in political goals.
This study concludes that cooperation between politicians, agents and supporters must be guided by political ethics as the main guideline for behaving and acting for the sake of achieving common prosperity. In addition, the use of technology in politics must be guided by ethics as an effort to realize a political system that is just, responsible, trustworthy, and meets the moral standards expected by society. Together, individuals, including politicians, agents and society, broadly play the role of moral agents to achieve politics with integrity, honesty and trustworthiness.
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Nordgaard, Ingrid. « Documenting/Performing the Vulnerable Body : Pain and Agency in Works by Boris Mikhailov and Petr Pavlensky ». Contemporaneity : Historical Presence in Visual Culture 5 (30 novembre 2016) : 85–107. http://dx.doi.org/10.5195/contemp.2016.184.
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This article explores the concepts of pain and agency in the photography series Case History (1997–1998) by the Ukrainian photographer Boris Mikhailov, and in four performance-actions (2012–2014) by the Russian performance-activist Petr Pavlensky. Although they represent different generations and respond to different historical contexts, Mikhailov and Pavlensky share a focus on the wounded body. Taking both the documentary and performative aspects of these artworks into account, Nordgaard argues that the wounded body stands forth as a body of agency which also reflects the social, political, and historical settings in which it exists. The relational consideration of the two artists therefore offers important insights for understanding post-Soviet Ukraine and present-day Russia, and reflects on the correlation between the private and the public body. By placing Mikhailov and Pavlensky in dialogue with a broader discussion on spectatorship and the role and significance of “shock imagery” and spectacle in contemporary media, the article further suggests why artworks depicting the body in pain have both an ethical and political function.
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Macagno, Lorenzo. « Modern Intimacies and Modernist Landscapes : Chinese Photographs in Late-Colonial Mozambique ». Lusotopie 19, no 2 (4 juin 2021) : 181–212. http://dx.doi.org/10.1163/17683084-12341763.
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Abstract This paper addresses a specific aspect of the social and cultural life of the Luso-Chinese in Mozambique, whose first contingents came from the Chinese province of Guangdong in the second half of the 19th century. Most settled in the city of Beira. By the 1950s, the Chinese community was already well integrated into modern life in colonial Beira. The city was going through an unprecedented urban and architectural boom. At that time, the Luso-Chinese, who were essentially merchants, also began to stand out in the field of photography. Based on a multi-sited ethnography among the Portuguese-Chinese diaspora – and their family photo albums – this paper reflects on two inseparable aspects of late-colonial modernity: architecture and photography.
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Bacsán, Gabriela. « Reflections of Nonnormativity : Photography, Childhood, and Belonging in Mariana Rondón’s Pelo malo ». Latin American Perspectives 48, no 2 (mars 2021) : 93–107. http://dx.doi.org/10.1177/0094582x20988698.
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The mirror reflections of Junior, the young protagonist of Mariana Rondón’s film Pelo malo, attempting to straighten his hair for a school photograph reveal the racialized, gendered, sexualized, and classed aspects of normative subjecthood in Venezuela. An examination of the circumstances that frame each mirror reflection and the reactions they elicit in his mother and grandmother and of Junior’s efforts to constitute himself as a normative child reveals the possibilities the film presents for existing outside of normativity. Los reflejos en el espejo de Junior, el joven protagonista de la película Pelo malo de Mariana Rondón, quien intenta alaciar su cabello para una fotografía escolar, revelan los aspectos raciales, de género, sexuales y de clase de la subjetivación normativa en Venezuela. Un análisis de las circunstancias que enmarcan cada reflejo y las reacciones que estas provocan en su madre y abuela, así como los esfuerzos del mismo Junior por constituirse como un niño normativo, revela las posibilidades que nos presenta la película para existir fuera de la normatividad.
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Ramsenthaler, Susanne. « GLOWING EVIDENCE : PHOTOGRAMS – THE DARK SIDE OF PHOTOGRAPHY / SPINDINTIS AKIVAIZDUMAS : FOTOGRAMOS – TAMSIOJI FOTOGRAFIJOS PUSĖ ». CREATIVITY STUDIES 5, no 1 (28 juin 2012) : 32–41. http://dx.doi.org/10.3846/20297475.2012.660548.
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Our ability to instantly read photographs is based on our sense of vision operating at a distance. Within the field of photographic processes however, co exists a very different representation: that of imprint and touch – namely the photogram. The decipherability of photographs to us is almost immediate but photograms work on a different level. They encapsulate the meeting of material and light-sensitive surface and incorporate the mark of authenticity, while producing an image which may not be immediately “read”. This paper constitutes a metaphysical inquiry into the perception and ontology of the photogram, which operates in a space which is visual and haptic at the same time – without physical contact in the act of creation, there would be no image. On the border between touch and vision, it makes the contact visible. Through this tactile connection, imaging processes such as the photogram and X-ray challenge the Cartesian hierarchy of the senses while invoking aspects of Gilles Deleuze's “fossil” and Walter Benjamin's “fetish” in their power to incite memory. This paper contains images from author's recent body of work Transitaria part of which consists of photograms of jellyfish, highlighting both the transformational character of the creatures and of the photogram process itself. Santrauka Mūsų gebėjimas akimirksniu suprasti fotografijas yra pagrįstas pojūčiu matyti iš toli. Tačiau fotografinių procesų srityje koegzistuoja labai skirtingos reprezentacijos: šiuo atveju fotograma – tai atspaudas ir prisilietimas. Fotografijos iššifruojamos kone tiesiogiai, tačiau fotogramos yra visai kas kita. Jos leidžia susiliesti materialiam ir šviesai jautriam paviršiui, o atvaizdas negali būti tiesiog „perskaitomas“. Šiame straipsnyje pateikiamas fotogramos suvokimo ir ontologijos metafizinis įvadas; fotograma veikia vizualiame kūrimo veiksme be jokio fizinio kontakto – čia negali būti jokio atvaizdo. Kontaktas tampa įmanomas ties riba, skiriančia prisilietimą ir regėjimą. Per šį taktilinį santykį vaizduotės procesai, tokie kaip fotograma ir rentgeno spinduliai, meta iššūkį karteziškajai pojūčių hierarchijai, remiantis Gillesio Deleuze'o „iškasenos“ ir Walterio Benjamino „fetišo“ galiomis stiprinti atmintį. Šiame straipsnyje pateikiama atvaizdų iš autorės darbų serijos „Tranzitarija“ dalies, sudarytos iš medūzos fotogramų, atskleidžiančų tiek kūrinių, tiek pačios fotogramos kaip proceso transformacinį pobūdį.
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Sharma, Sonali. « #delhimetro on Instagram : Digital Media and Mobility Practices before and during the COVID-19 Pandemic ». Asiascape : Digital Asia 9, no 1-2 (7 juillet 2022) : 19–46. http://dx.doi.org/10.1163/22142312-bja10032.
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Abstract India has the highest number of Instagram users in the world. This article examines Instagram, the mobility, and the digital media practices of Delhi Metro commuters before and during the COVID-19 pandemic. In particular, it looks at their photography of everyday lived experiences, their mediated interactions with one another, and the visible-invisible infrastructure in the city. It draws attention to the complexity of digital production, personal archiving, and circulation networks at play. Foregrounding the changing ‘geographies of social media’, a qualitative, digital ethnographic approach analyses these images’ visual, social, and contextual aspects. Also, a range of convergent practices related to individuals, places, and socio-cultural-political-economic-technological realities influence the images. Eventually, a narrative emerges on how these metro travellers inhabit offline and online public spaces, exchange cultural capital, and perform the affective, mediated negotiation of the city.
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Prieto-Blanco, Patricia. « (Dis)Affect, Photography, Place ». Imaginations Journal of Cross-Cultural Image Studies/revue d études interculturelle de l image 13, no 2 (30 octobre 2022) : 123–44. http://dx.doi.org/10.17742/image.tp.13.2.6.
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Migrants are connected for a variety of reasons (Leurs and Prabhakar 2018, p. 247), and in a myriad of ways (Cabalquinto 2018; Özdemir, Mutluer, and Özyürek 2019; Gencel Bek and Prieto-Blanco 2020). Drawing from a larger project of ethnographic nature (Prieto-Blanco 2016b), this paper argues that photographic practices advance socialization in transnational families, and that each practice activates certain relational affordances to support bonding and familial intimacy. This also serves to offer an alternative reading of phatic communication (Malinowski 1923) as an emotion‐based process. Finally, the paper proposes to understand (digital) photography as a medium of (inter)action and experience for transnational families.
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Antola Swan, Alessandra. « The iconic body : Mussolini unclothed ». Modern Italy 21, no 4 (novembre 2016) : 361–81. http://dx.doi.org/10.1017/mit.2016.54.
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The body partially disrobed as a visual strategy for self-branding is the theme of this article. During Fascism, photography, in synergy with the communications industry ante-literam, was an essential part of the construction of the cult of the leader that transformed the figure of Mussolini into an icon. Mussolini’s partial nudity is considered here as a powerful political tool. The Duce, in anticipation of our celebrities today, did not hesitate to undress and display his torso in what Valerie Sperling calls ‘iconic public-relations stunts’ that were both exhibitionistic and voyeuristic (Sperling 2014, 21). Deconstructing the visual language of Fascist propaganda that made the man into a myth, this article illustrates the most iconic aspects of Mussolini’s visual strategy, demonstrating his innovative capacity to take advantage of a modern attitude towards self-representation, similar to that adopted by today’s heads of state.
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Ross, Reuben Connolly. « The Photographer Photographed : A Conversation with Jean Mohr ». Imaginations Journal of Cross-Cultural Image Studies/revue d études interculturelle de l image 13, no 2 (30 octobre 2022) : 23–45. http://dx.doi.org/10.17742/image.tp.13.2.2.
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The Swiss photographer Jean Mohr, who died in November 2018 at the age of 93, is well known for his long career documenting the plight of the displaced and dispossessed. Especially noteworthy are his collaborations with major intellectual figures, through which he experimented with the construction of visual narratives. His celebrated books with John Berger include *A Fortunate Man*, an intimate portrait of an English country doctor, and *A Seventh Man*, a meditation on migrant labour in 1970s Europe; with Edward Said, he published *After the Last Sky*, a reflection on Palestinian life through the fusion of text and photography. Partially based on a short interview conducted with Mohr in early 2018, this paper reflects on his life and work, taking the reader on a journey mediated by our conversation. In particular, I explore the development of his unique approach to photography and the experimental construction of visual narratives. In so doing, I argue that Mohr’s work offers social scientists, particularly those engaged in studying processes of migration or zones of conflict, ways of constructing more effective, more engaged, and more experiential accounts of complex social realities.
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Hill, Annette, Mette Mortensen et Joke Hermes. « Fear : Introduction to special issue ». European Journal of Cultural Studies 24, no 4 (août 2021) : 793–800. http://dx.doi.org/10.1177/13675494211033297.
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Fear needs dealing with. Fear demands to be abated, countered or turned into something else, contributing and curtailing how we ‘do’ being human beings. This special issue of the European Journal of Cultural Studies addresses fear within media and popular culture, adopting a cultural studies approach to fear in a variety of socio-cultural and political contexts. A cultural studies approach allows us to enhance the horizon of understanding cultural practices, mediation and the subjective experience of fear as something we need to work through, in a process of recognition and shock, action and reaction, understanding and reflection. This focus on ‘working through fear’ offers new insights into the intensely subjective aspects of fear as it is creatively explored in representations within drama and documentary, photography and art, and in user-generated content, memes and political satire, and as it is embodied and experienced by people in the context of their realities. In addition, it shows how fear generates energy, anxiety and even desire. Rather than offering a generalizing account, this issue seeks to address fear in specific contexts, localities and from specific roles and perspectives.
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Arpioni, Maria Pia. « Lo sguardo sul paesaggio nella fotografia di Giovanni Pasinato // The Look into Landscape in the Photography of Giovanni Pasinato // La mirada sobre el paisaje en la fotografia de Giovanni Pasinato ». Ecozon@ : European Journal of Literature, Culture and Environment 6, no 1 (2 mars 2015) : 73–96. http://dx.doi.org/10.37536/ecozona.2015.6.1.639.
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Il saggio presenta il lavoro di un giovane fotografo del Nord Est italiano, Giovanni Pasinato (Venezia 1974-), attraverso l’analisi della sua opera e un’intervista all’autore, impegnato in un’attività dalle consistenti valenze cognitive ed etiche, ascrivibile alla Scuola italiana di fotografia del paesaggio (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), ma dotata di tratti originali in forte sviluppo. Il contributo intende mostrare come la fotografia di Pasinato—dalle esplorazioni del “terzo paesaggio” lungo strade e autostrade, alla ricerca condotta sulle scene urbane di Treviso e Venezia Mestre, fino alla più recente perlustrazione dell’antico bosco del Montello (sulla cui esistenza minacciata si era levato altissimo anche il canto poetico di Andrea Zanzotto, scomparso nel 2011)—sia tutta incentrata sulla funzione fondamentale dello “sguardo,” grazie alla quale il suo lavoro si caratterizza come indagine e strumento di consapevolezza, in senso lato “politica,” sul rapporto fra l’essere umano e i luoghi. Le immagini di Pasinato, sommesse, limpide e allo stesso tempo avvolte da vaghezza, interrogano l’osservatore, proponendogli un dialogo con gli spazi fotografati ed evidenziando l’inscindibilità stilistica fra forma e contenuto; si distinguono per l’assenza di ogni compiacimento soggettivistico ed estetico, a favore della riscoperta, realizzata per mezzo di una essenziale valorizzazione della “visione,” dello stretto nesso fra cultura e natura, fra l’essere umano e gli altri viventi. Proprio mentre sollecitano il senso della nostra responsabilità collettiva, tralasciando ogni cedimento sentimentalistico e nostalgico, queste fotografie invitano ad avere coscienza e perciò, in ultima analisi, speranza. Pasinato rivendica così alla fotografia un’alta funzione artistica e civile, spesso misconosciuta proprio da quegli enti e istituzioni che dovrebbero avere a cuore il bene comune. Abstract The analysis and the interview of the author contained in this essay portray the work of a young Italian photographer, Giovanni Pasinato (Venice 1974-), who lives in the North East of Italy and who devotes himself to an activity encompassing important cognitive and ethical aspects. His work can be included within the Italian School of Landscape Photography (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), but has original features in robust development. This essay will show how Pasinato’s photography—from his explorations of the “third landscape” along roads and highways, through his research in the urban scenes of Treviso and Venice Mestre, up to the latest reconnaissance of the Montello’s ancient wood (on whose endangered existence, Andrea Zanzotto, who died in 2011, wrote wonderful poems)—is entirely focused on the fundamental function of the “look,” thanks to which his work characterizes itself as an investigation, an instrument of the awareness, in the broad sense “political,” of the relationship between human being and place. Pasinato’s whispered, limpid yet at the same time ambiguous images, question their beholders, offering them a dialogue with the photographed spaces, underlining the stylistic indivisibility between form and content. In comparison to other landscape photography experiences, Pasinato’s works stand out, thanks to the absence of any subjective and aesthetic self-gratification and by favouring, through an essential enhancement of the “vision,” the revival of the close relationship between culture and nature and between human beings and other living beings. Just as his photographs stress the importance of our collective responsibility, ignoring any sentimental or nostalgic concession, they are an exhortation to raise awareness and, ultimately, hope. Thus, Pasinato ascribes to photography a highly artistic and civil function, which is often disregarded by those organizations and those authorities that should really care for the common good. Resumen El análisis y la entrevista del autor en que se centra este ensayo presentan la obra de un joven fotógrafo del noreste de Italia, Giovanni Pasinato (Venecia, 1974-), que se dedica a un actividad que abarca importantes aspectos cognitivos y éticos. Su trabajo puede incluirse en la Escuela Italiana de Fotografía del paisaje (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), pero tiene rasgos originales en fuerte desarrollo. Este ensayo mostrará como la fotografía de Pasinato—desde sus exploraciones del "tercer paisaje" en el camino de carreteras y autopistas, la investigación en las escenas urbanas de las ciudades de Treviso y Venecia Mestre, hasta la más reciente exploración del antiguo bosque de la colina llamada Montello (sobre el riesgo de su desaparición, también el poeta Andrea Zanzotto, fallecido en 2011, escribió algunas de sus mejores obras)—está completamente enfocada en la función fundamental de la observación, gracias al que su trabajo se caracteriza como una investigación, un instrumento de la concienciación, en el amplio sentido “político”, de la relación entre ser humano y lugar. Las imágenes de Pasinato, suaves, claras y al mismo tiempo envueltas en vaguedad, questionan a quien observa, le proponen un dialogo con los espacios fotografiados y subrayan la inseparabilidad estilística entre forma y contenido. En comparación con otras experiencias de fotografía del paisaje, las representaciones de Pasinato destacan gracias a la ausencia de autocomplacencia subjetivista y estética, tratando de descubrir nuevamente la estrecha interrelación entre naturaleza y cultura, entre los seres humanos y otros seres vivientes. En cuanto instan nuestro sentido de la responsabilidad colectiva, dejando de poner la atención en sentimentalismos y nostalgias, estas fotografías invitan a adquirir conciencia y, además, esperanza. Pasinato reclama para la fotografía una importante función artística y civil, muchas veces ignorada por las instituciones que deberían preocuparse por el bien común.
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Pickard, Beth. « How is disability portrayed through Welsh universities’ Disability Service web pages ? » Learning and Teaching 14, no 1 (1 mars 2021) : 1–34. http://dx.doi.org/10.3167/latiss.2021.140102.
Texte intégralRésumé :
This article explores the portrayal of disability through the Disability Service web pages of Welsh universities in order to understand their potential impression on disabled applicants. The method of Qualitative Content Analysis enables consideration of multiple dimensions including use of language, terminology and photography, as well as discussion of academic, cultural, social and logistical aspects of student life. The development of a primarily concept-driven coding frame enables consideration of the absence of certain criteria as well as the frequency and prominence of others. The ensuing discussion considers, from a Critical Disability Studies perspective, the sector’s portrayal of the construct of disability. This article proposes a call to action to challenge deficit-based interpretations of disability and advocates an affirmative stance towards disability in higher education policy and practice.
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Njirić, Diana, et Ivica Miloslavić. « Semiotic Effect in Visual Communication ». European Journal of Multidisciplinary Studies 1, no 2 (30 avril 2016) : 308. http://dx.doi.org/10.26417/ejms.v1i2.p308-316.
Texte intégralRésumé :
The paper attempts to define the term semiotics of photography. Approach to the theme was started from the concept of semiotics. Since the 60s of the last century, "semiotics", which studies the characters, has begun to affect changes in the humanities and natural sciences. After Ferdinand de Saussure, the study of signs focused on humans need labeling, especially on the logic of "communication" and disclosure "codes" that form the background of diverse cultural phenomena. Semiotics provides to understand in a different way, by language and framework, the link between the image and society. It is also a method that can be used to expose photos, studying mass media, literary texts and systematically analyze a number of other features of the popular culture. In the modern, technologically developed world, man is exposed to photos more than ever (billboards, advertisements, magazines, art photography... ). Visual impact, as the most convincing form of attracting attention, affects the formation of opinions and attitudes, encouraging consumption and serves in many other commercial or political purposes. Therefore, semiotics, science which studies signs and their meanings, is becoming more important scientific discipline in explaining sociosemiotic aspects of society. In the paper is analized the photo in a different context using semiotics to understand it. Assuming that the symbolism of the publicly engaged photos exposed to the public differs from those intended for the specialized or limited audience, will be attempted to prove that the former is expected to influence with emotions, more shocking attempt to attract attention, and the later let observers themselves to decode picture.
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Komarova, Milena, et Martina McKnight. « ‘We are Watching you Too’ : Reflections on Doing Visual Research in a Contested City ». Sociological Research Online 18, no 1 (février 2013) : 38–49. http://dx.doi.org/10.5153/sro.2877.
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This article focuses on our observations of two contentious Orange Order parades and nationalist protests that took place in an interface area in Belfast, Northern Ireland, in June 2011 and 2012. We apply a perspective of visual ethnography as place-making ( Pink 2009 ) to our research experience in order to add to understandings of how a place of conflict is experienced, (re)produced or challenged through the use of photography and video by marchers, protesters and researchers alike. In doing so, we discuss not only the strengths of visual methods, (how they enable a greater understanding of adversarial perspectives, allow researchers to experience contestation emotionally and compel reflexivity), but also more controversial aspects of their use (the extent to which they limit what researchers notice or omit and legitimate particular versions of conflict). Last, but not least, we suggest that the ubiquitous use of ‘the digital eye’ in the contentious events we observed has a democratising influence over elements in the performance of conflict: challenging the presumed roles of performers and audiences; of researchers and researched; opening contentious events to a wider audience and facilitating the communication of competing narratives.
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Leśniak, Kamila. « The Family of Man in Poland : An Exhibition as a Democratic Space ? » Ikonotheka 26 (26 juin 2017) : 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
Texte intégralRésumé :
The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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Gaižutytė-Filipavičienė, Žilvinė. « JEWISH HERITAGE IN THE CREATIVE CITIES OF CENTRAL AND EASTERN EUROPE : TOURISM, TECHNOLOGIES AND PROSTHETIC MEMORY ». Creativity Studies 13, no 1 (13 janvier 2020) : 41–52. http://dx.doi.org/10.3846/cs.2020.6079.
Texte intégralRésumé :
This paper deals with Jewish mobile multimedia cultural-heritage, root-diaspora tours and apps. The author presents and compares UNESCO Creative Cities Network of Central and Eastern Europe in which Jewish communities were numerous before the World War II – Budapest (Hungary), Kraków (Poland), Prague (Czech Republic), Kaunas (Lithuania). Also, article deals with other cities of Jewish cultural heritage that are not listed in UNESCO Creative Cities Network as Warsaw, Poland and Vilnius, Lithuania, but propose multimedia tours. I will analyse, how aspects of creative city are included and highlighted in multimedia tours and apps. Visiting of memory sites is very relevant aspect of memory culture, related to other creative and cultural industries – tourism, heritage, museums etc. Cityscape and sites of memory of the Holocaust as cultural topography materialize and embody traumas, regrets, and responsibility to remember past. Contemporary technologies as mobile multimedia tours and apps are designed to aid travellers and tourists to find heritage and other touristic objects in a map, it provides general practical information, as well as maps, photos, augmented reality, and Jewish itineraries. Herewith these new technologies are changing very deeply not only travelling habits or photography practices, they fundamentally transform our relation with cultural heritage and memory. Mobile phones became not only devices for communication, but also as digital prosthetic memory.
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Melnik, Tetyana. « Corporality asa Factor of Female Image in the Culture of Ukraine during the Independence Period ». Artistic Culture Topical Issues, no 18(1) (31 mai 2022) : 96–101. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260431.
Texte intégralRésumé :
The article focuses on the image of women in the culture of Ukraine during the period of independence: on the aspects of corporeality, sexuality, and self-representation. Female body is considered as a significant factor in the structure of female identity. At the same time, attention was drawn to the interpretations of femininity through the stereotyping of women’s functions (social, reproductive, cognitive). In addition, actual representation of “feminine” mainly through biological rather than social was covered. The article focuses on popular gender patterns, such as the corpus of binary oppositions, among which the pretentious “distribution” of areas of domination: the sphere of the female is determined by visibility and material, and the male by the essential and spiritual. The current trends in the transformation of this stereotyping were described, the nature of gender hierarchy and the dynamics of changes around this issue were revealed, with the examples from the visual practices such as performance, video art, photography, painting, poster graphics. The method of studying the representations of the female body in Ukrainian visual culture involved a systematic approach that reveals in the artistically meaningful faces of the female, not only cultural and aesthetic, but also political, social components, introduced in obvious or latent form, according to the current values.
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Girdwood, Megan. « ‘Puppet of skeletal escapade’ : Dance Dialogues in Mina Loy and Carl Van Vechten ». Modernist Cultures 16, no 2 (mai 2021) : 265–88. http://dx.doi.org/10.3366/mod.2021.0331.
Texte intégralRésumé :
In an undated letter, likely composed in late 1914, Mina Loy reflected on the recent aesthetic experiences that had greatly affected her, writing that the ‘things that have made [her] gasp were a few Picassos, Windham [ sic] Lewis, Nijinski dancing – perfection is infrequent’. The letter was addressed to her American agent Carl Van Vechten, a dance and music critic at the New York Times, who played a highly influential role in shaping discourses around ballet and modern dance both in the US and internationally. This article conjoins Loy and Van Vechten's modernist oeuvres – crossing genres including poetry, novels, newspaper reviews, and photography – in order to reveal the importance of dance to their shifting aesthetic commitments and shared interest in the expressive capacities of the human form. Dancing bodies, moving fluently across the work of this modernist pair, variously transcribe Futurist satires, Decadent revivals, and a primitivist fascination with the erotic aspects of dance, crystallising in Loy and Van Vechten's responses to the Harlem Renaissance.
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Lino Lecci, Alice. « Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco ! » AM Journal of Art and Media Studies, no 19 (15 septembre 2019) : 85. http://dx.doi.org/10.25038/am.v0i19.316.
Texte intégralRésumé :
This paper presents a criticism of the performance Merci Beaucoup, Blanco! by Michelle Mattiuzzi and the self-reflection on it published in the 32nd Biennial of São Paulo – “Live Uncertainty” (2016) – entitled Written Performance Photography Experiment. To this end, we emphasize the performance’s formal elements alongside aspects of the history of racist practices and theories in Brazil, in addition to the official historiography concerning the black population, which contextualize the feelings of pain and horror impregnating both the artist’s personal experience and her performance.Accordingly, the elements of this performance that can incite feelings of pleasure in the observer such as the resistance of black women and their political representation are analyzed in the field of art and culture. Lastly, to conclude, this paper argues about the possibilities of the performance’s fruition. This argument is based on the artist's text and certain constituent arguments of the feeling of the sublime’s concept, as presented by Edmund Burke, Immanuel Kant and Jean-François Lyotard.Considering an analogy with the aesthetics of the sublime, it is argued that Merci Beaucoup Blanco! gravitates in the atmosphere of horror, pain and shock, recalling/suggesting feelings of racial violence and discrimination still existing in Brazil. This performance of a black woman against racist oppression also constitutes an act of resistance of the artist, capable of awakening feelings of pleasure in their watchers. The public then moves from shock, pain and horror to contentment of the political consciousness of race, gender, and class. Article received: April 23, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019. Original scholarly paperHow to cite this article: Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies 19 (2019): 85-99. doi: 10.25038/am.v0i19.316
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Pottgiesser, Uta, et Wido Quist. « Shared Heritage Africa ». Docomomo Journal, no 69 (15 décembre 2023) : 2–3. http://dx.doi.org/10.52200/docomomo.69.ed.
Texte intégralRésumé :
Docomomo International is proud to present the results of the international project Shared Heritage Africa: Rediscovering Masterpieces and other selected papers from our call for papers Shared Heritage Africa – Campuses, published in December 2022. The SHA project itself, coordinated by Docomomo Germany, focused on rediscovering post-war modern buildings from the 1950s-1980s in the partner countries Ghana, Nigeria, Uganda, and Rwanda. This period of independence from colonial rule, from the United Kingdom (Ghana 1957, Nigeria 1960, and Uganda 1962) and from Belgium (Rwanda 1962), has a great socio-political significance and influence on the educational systems and buildings. The rediscovery of this heritage focuses on exploring the values, challenges, and opportunities through the eyes of their contemporary users. Concentrating on the post-war modern buildings constructed after independence from colonial rule, the project celebrated projects that are situated at the periphery of the architectural discourse and, therefore, seldom documented despite their social, economic, and political significance.This Docomomo journal highlights the importance of the combination of local workshops, including student writing and photography workshops, exhibitions and ‘digital fellowships’ using the internet for dissemination. Exploratory interviews and narratives are used to collect testimonies of contemporary users⎯applied in the SHA project as well as in the other articles. Aspects discussed are, among others, the physical; deterioration (technical, functional, social), the cosmological; through the sense of identity, community, place attachment, maintenance and taking care, ownership and appropriation, and the environmental; considering the quality, and sustainability of spaces, and also conditions of comfort and satisfaction. While the method is in development, preliminary conclusions can already be sketched. The written, visual, and digital documentation of the built cultural heritage of Africa is a prerequisite for sustainable urban and social development. The approach builds upon African and international Docomomo initiatives and identifies students and young professionals as important groups to develop social, cultural, and political awareness and to further advance participatory tools.Most relevant were the partners in and from Africa who helped with their networks in Ghana, Nigeria, Uganda, and Rwanda during the excursions and exhibitions: Ola Uduku (University of Liverpool), Taibat Lawanson (University of Lagos) are well-known and respected for their research on education buildings and urban development in Africa. Their commitment to the younger generations and the (built) heritage of Africa and their enthusiasm were instrumental to the achievements of the SHA project. Kuukuwa Manful from Docomomo Accra Chapter in Ghana finished her dissertation within the ERC program ‘African State Architecture’ during the project duration, and Mark Olweny (Uganda Martyrs University) in Kampala, Uganda, greatly supported the visit to Uganda and Rwanda. The photography and writing workshops and exhibitions were strongly supported by the project partners, namely photographer Jean Molitor, who has initiated his own art project ‘bau1haus’, is experienced in setting up exhibitions and shared his knowledge enthusiastically with the SHA-Fellows. Christian Burkhard brought in the competence of Architectuul, an architectural platform that, through its co-workers in various countries, forms an international architecture community. Finally, Anica Dragutinovic (TH OWL) coordinated the contact amongst the SHA-Fellows from the very beginning and during their visits to Europe to the 17th International Docomomo Conference in Valencia in 2022 and to the 19th Docomomo Germany Conference in Frankfurt 2023. Three exhibitions were organized: in Lagos in 2022, in Kampala and in Frankfurt in 2023.We also like to thank the members of the SHA project’s Advisory board: Ana Tostoes (University of Lisbon), Iain Jackson (University of Liverpool), Irene Appeaning Addo (University of Ghana), Kaija Voss (Architectural Historian), and Tino Mager (ICOMOS Germany).Finally, we are grateful to the German Federal Foreign Ministry that supported the project with a grant (AZ99210073) from 2021-2023, and it is with great pleasure that we are launching this issue of the Docomomo journal, published both in print and online via www.docomomojournal.com.
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DiCaprio, Lisa. « The Betrayal of Srebrenica : The Ten-Year Commemoration ». Public Historian 31, no 3 (2009) : 73–95. http://dx.doi.org/10.1525/tph.2009.31.3.73.
Texte intégralRésumé :
Abstract The Srebrenica massacre occurred in July 1995 during the last year of the war in Bosnia (1992––1995). It was the single worst atrocity during the war and in Europe since World War II. The Betrayal of Srebrenica: The Ten-Year Commemoration, with photographs by New York City human rights photographer Paula Allen, focuses on the July 11, 2005 commemoration of Srebrenica, which was attended by over 30,000 survivors and their supporters. The exhibit comprises photographs of Sarajevo, Srebrenica, the survivors, the activities of the International Commission on Missing Persons (ICMP), and key aspects of the commemoration. The text panels accompanying the photographs feature quotes by survivors, journalists, United Nations officials, Bosnian Serb political officials and military commanders, and International Criminal Tribunal for the former Yugoslavia (ICTY) judges. The article discusses how the author conceptualized and organized this exhibit as a public history project.
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Simon, Soares, José Henrique Schoereder et Marcos Da Cunha Teixeira. « Environmental Response of Dinoponera lucida Emery 1901 (Hymenoptera : Formicidae), an Endemic Threatened Species of the Atlantic Forest Central Corridor ». Sociobiology 67, no 1 (18 avril 2020) : 65. http://dx.doi.org/10.13102/sociobiology.v67i1.3662.
Texte intégralRésumé :
Endemic species of Atlantic Forest Central Corridor may have evolved under adverse climate conditions, but their response to modern climate change is unclear. The aim of this study is to evaluate the response of the endemic and endangered ant species Dinoponera lucida to biotics and abiotics factors based on three scales: ecological factors inside forest fragment, physical attributes of landscape and climatic variables of the assessed region. Data collection took place in a representative selection of forest fragments in the region where the species is distributed in. Pitfalls were used to collect samples and to assure the presence and absence of the species in the site. We also checked the abundance of food resources and applied a hemispherical photography technique to measure shading inside the fragment, in loco. Landscape attributes data and climatic predictors were collected through geoprocessing techniques. All predictors were associated with binary “presence” and “absence” data based applied in logistic models. There was no significant response to environmental aspects within the fragment or to landscape, but there was strong and peculiar response to climatic variables such as temperature and rainfall. Accordingly, D. lucida presents a restricted realized niche, a feature shared among many endangered species that can disappear due to displacement and to habitat loss caused by climate and environmental changes. This species presents all the criteria necessary to be considered as rare, which is a controversial subject with political implications for Espírito Santo state, and makes D. lucida the ideal target for urgent conservation strategies.
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Simonova, Irina A., Anastasia V. Shvetsova et Marina S. Krivoshchikova. « ‘Non-maternal’ educational practices of mothers : contents, features, barriers to implementation ». Perspectives of Science and Education 67, no 1 (1 mars 2024) : 29–47. http://dx.doi.org/10.32744/pse.2024.1.2.
Texte intégralRésumé :
Introduction. The issue of studying the educational practices that women use to maintain their social, political and economic positions during changes in their usual living conditions due to caring for small children is updated by the need to develop effective programs to support motherhood – a priority task in the unfavorable demographic situation of recent years. The study aims to characterize and create a typology of educational activities used by Russian mothers as ‘non-maternal’ practices and to identify problematic aspects implementing these. Materials and methods. Methodologically, the study is based on the gender social construction theory and the concept of ‘non-maternal’ practices of mothers. Women's statements in thematic online communities were analyzed (22 communities, 248 statements); in-depth interviews (N=20), survey (N=471) and interview with an expert on advanced training programs for mothers in Sverdlovsk Oblast (Russian Federation) were conducted. Research results. 62% of statements and 36% of questionnaires contain references to learning experience. 58% of participants see education as a way to develop their potential and capabilities, 71% of statements contain information about entrepreneurial and work initiatives implemented as a result of training. 37% of informants do not know of any educational programs to support mothers. The typology includes the following criteria: motives (investment, leisure, existential, instrumental); field of activity (beauty; cooking, making clothes; interior design; photography; web design, IT; psychology, coaching; business education; driving; foreign languages; pedagogy; music); financial accessibility (paid, free); implementation (formal, informal). Conclusion. Personality problems and obstacles such as inconsistency in the maternity support system at the political and program levels are highlighted. Recommendations for optimizing systems for supporting mothers’ education are as follows: taking into account the contents of practices when forming a portfolio of state support programs, developing informal education resources, modernizing the infrastructure of educational sites, taking into account the needs of women with incomplete education; mentoring; reforming communication channels; working with public opinion in the field of maternal education.
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Thoutenhoofd, E. « Method in a Photographic Enquiry of being Deaf ». Sociological Research Online 3, no 2 (juin 1998) : 37–48. http://dx.doi.org/10.5153/sro.173.
Texte intégralRésumé :
What follows is based on the hypothesis that aspects of a particular, socially and culturally distinct, visuality [1] are manifest in visual data such as photographs. I will explore this hypothesis with reference to Deaf people, people who use sign language and who are members of the Deaf community, using data from earlier research (Thoutenhoofd, 1996). To this end, I have opted for two parallel texts, a photographic one as well as a written one, cross-referenced by hyperlinks. The photographs form the core, or the ‘evidence’ of the method outlined in the text. The photographs portray a number of pertinent visual characteristics and strategies found where Deaf people congregate into clearly defined communities, for example Deaf clubs, d/Deaf colleges, and in the pages of magazines aimed at d/Deaf audiences; yet the photographs bear witness to the commonplace, portraying regular Deaf club and Deaf college activities. In the process of discussing the reasons for taking the photographs and having photographs taken, I set out to describe what is meant by a ‘Deaf visuality’, and to suggest its relevance to research into deafness and being d/Deaf.
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Babiy, Nadiya. « Performance studies. Experiments with the Methods of Transformation of Sociocultural Landscape ». Artistic Culture. Topical Issues, no 17(1) (8 juin 2021) : 159–64. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235248.
Texte intégralRésumé :
In the article, the concept of performance is considered as a leading communicative art practice of socialization of distinct spaces of Western Ukrainian cities. Performance studies are viewed as an effective global interdisciplinary field that views performance and uses performativity as a method of studying various cultural processes and practice of setting up and collaborating of the social groups and urbanistic spaces. In this context, performance art pieces, artistic projects, political actionism and other cultural practices and experiences are presented on the examples of actionism of Western Ukraine. Method of synthesis that helped to compare and generalize scientific sources and literature is applied; as well as the systematic method for the analysis of culturological aspects of performance and sociological method, when culture is considered as a factor in the organization of public life and the formation of the intellectual landscape. The methodology of the field research gave the work practical significance, due to the use of valuable photography materials, memories of the participants of performative practices. Observing the organization of the performance allowed to examine its reflexive effect on the audience. Performance studies are an important discipline that can be useful for all groups of the socio-cultural urban landscape. Studies of performance allow us to understand distinct world cultures or to evaluate our own behavior critically. Artists frequently develop their intuitive abilities through performance, look for hidden meanings in familiar objects and actions. The practice or contemplation of the performance by the consumers of the culture of “bread and spectacles” (Latin: panem et circenses) may consist in understanding one’s own assessment of the circumstances, comparing it with the perception of others, perhaps by changing one’s position. Government institutions have the opportunity to master additional resources to gain understanding of distinct environments of the city and at the same time to acquire effective methods of personnel management.
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Ananiev, Vitaly G. « N. E. Soum – the First Head of the Museum Department of the Institute of Out-of-School Education in Petrograd ». Herald of an archivist, no 4 (2020) : 1228–40. http://dx.doi.org/10.28995/2073-0101-2020-4-1228-1240.
Texte intégralRésumé :
The revolutions of 1917 prompted a large-scale reorganization of almost all aspects of life in Russia. An important actor in its implementation was intelligentsia. Studying the biographies of the participants in that processes is important for two reasons. Firstly, it allows us to fill the gaps in the history of certain phenomena (i.e., the history of museum education in Russia). Secondly, it’s important from the point of view of prosopography, as biographies help a better understanding of certain historical types. That is important in the context of the anthropological approach to the study of revolutionary events. The object of this article is the biography of one of the personalities of the first post-revolutionary years, Nikolai Emmanuilovich Soum (1879–1926). Studying chemistry at St. Petersburg University in the 1890s–1900s, Soum to a great extent followed the path laid by his father's professional activities. However, he didn’t succeed in accomplishing his studies, perhaps on the account of his father’s death and failed family finances. In the 1910s, when working as a chemist, he joined in the activities of scientific and educational societies. The enlightenment pathos and practical application of science (his interest in photography) prepared the changes, which took place immediately after the revolution. Since 1918 Soum served in the Petrograd gubernia department of public education, and from 1919 headed the Museum department of the Petrograd Institute of Out-of-School Education. One of his first projects was system of training of museum workers, one of the first in Russia. Structural changes and unfavorable political conditions hindered the implementation of the initiative. Soum, same as earlier in the pre-revolutionary period, was pushed to the periphery of cultural life.
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Miranda, Cynthia Mara, et Sonielson Luciano De Sousa. « NIILISMO REPAGINADO ? » Revista Observatório 4, no 1 (1 janvier 2018) : 869. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p869.
Texte intégralRésumé :
O corpo é objeto de disputa política, religiosa, artística e, mais recentemente, científica. Neste sentido, este ensaio trás uma linha histórica apontando como o tema é encarado, bem como delineando o conjunto de significados, mitos e interditos relacionados ao corpo. No processo, tendo por bases autores da filosofia e sociologia clássicas de diferentes épocas, aponta para a possibilidade de uma retomada do niilismo, na busca de um ideal de corpo. Isso porque, ao se utilizar de técnicas ascéticas, os sujeitos envoltos na dinâmica dão uma dimensão sagrada ao corpo, além de negar certos aspectos da vida, como a decrepitude e a impermanência, condições inalienáveis à dimensão humana. De acordo com a proposta do ensaio e baseado em diversos autores, o corpo volta a ocupar lugar central na sociedade – como já ocorreu na Grécia Clássica –, só que agora esvaziado de sua dimensão política e social.
PALAVRAS-CHAVES: Corpo; niilismo; fotografía; ensaio.
ABSTRACT
The body is the object of political, religious, artistic and, more recently, scientific dispute. In this sense, this essay draws a historical line pointing out how the theme is viewed, as well as delineating the set of meanings, myths and interdicts related to the body. In the process, based on classical philosophical and sociological authors of different epochs, it points to the possibility of a resumption of nihilism in the search for an ideal of the body. This is because, when using ascetic techniques, the subjects involved in the dynamics give a sacred dimension to the body, besides denying certain aspects of life, such as decrepitude and impermanence, conditions inalienable to the human dimension. According to the proposal of the essay and based on several authors, the body returns to occupy central place in the society - as already occurred in Classical Greece -, but now emptied of its political and social dimension.
KEYWORDS: Body; nihilism; photography; essay.
RESUMEN
El cuerpo es objeto de disputa política, religiosa, artística y, más recientemente, científica. En este sentido, este ensayo tras una línea histórica apuntando como el tema es encarado, así como delineando el conjunto de significados, mitos e interditos relacionados al cuerpo. En el proceso, teniendo por bases autores de la filosofía y sociología clásicas de diferentes épocas, apunta a la posibilidad de una retomada del nihilismo, en la búsqueda de un ideal de cuerpo. Por eso, cuando se utilizan técnicas ascéticas, los sujetos envueltos en la dinámica dan una dimensión sagrada al cuerpo, además de negar ciertos aspectos de la vida, como la decrepitud y la impermanencia, condiciones inalienables a la dimensión humana. De acuerdo con la propuesta del ensayo y basado en diversos autores, el cuerpo vuelve a ocupar un lugar central en la sociedad -como ya ocurrió en la Grecia Clásica-, sólo que ahora vaciado de su dimensión política y social.
PALABRAS CLAVES: Cuerpo; niilismo; fotografia; ensayo.
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Photiou, Irene, Lambrini Papadopoulou, Artemis Eleftheriadou et Theodora A. Maniou. « Visual Infotainment in the political news ». MedieKultur : Journal of media and communication research 35, no 66 (23 octobre 2019) : 075–100. http://dx.doi.org/10.7146/mediekultur.v35i66.105281.
Texte intégralRésumé :
This article introduces the concept of visual infotainment, the aspects of infotainment found in visual artefacts employed in the news. Using a case study, we examine the photographs published in the digital media to report on the negotiations between the Greek- and Turkish-Cypriot communities, which took place in 2016 and 2017. A four-level visual framing analysis is used to identify a consistent set of frames. It aims to identify the political ideologies that appear to be behind the visual infotainment in these pictorial reports, and the specific ways in which hard news can be transformed into soft news. Our research confirms the presence of visual infotainment elements of personalisation, emotion, morbidity and sensationalism. Overall, the study shows that visual infotainment serves to establish visual frames produced by and for contradictory propagandas, one of which favours ethnic nationalism while the other promotes confl ict resolution.
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Ortiz-Echagüe, Javier, et Celia Vega Pérez. « 'I would prefer not to' : The Private Life of a Melancholic Dictator in Salazar na intimidade (1954) ». Portuguese Studies 39, no 2 (2023) : 192–209. http://dx.doi.org/10.1353/port.2023.a918435.
Texte intégralRésumé :
Abstract: In 1952, Éditions Grasset published Vacances avec Salazar , a book of interviews with the Portuguese dictator by the French journalist and writer Christine Garnier. It was illustrated by the photographer António Rosa Casaco, who was also a member of the regime's political police. The aim of the book was to promote the figure of Salazar at home and abroad, focusing on some little-known aspects of his life. In 1954, António Rosa Casaco's reportage was republished in a photobook entitled Salazar na intimidade , in which the discourse relied heavily on the photographs. This article aims to analyse the portrait of the Portuguese dictator offered by both books, which has come to be described as an 'anti-image': rather than a heroic and determined character, the leader appears as a solitary, melancholic and ambiguous individual, who has sacrificed himself to serve his country. Resumo: Em 1952, as Éditions Grasset publicaram Vacances avec Salazar , livro de entrevistas ao ditador português da jornalista e escritora francesa Christine Garnier. Foi ilustrado pelo fotógrafo António Rosa Casaco, que também foi membro da polícia política do regime. O objectivo do livro era divulgar a figura de Salazar no país e no estrangeiro, focando alguns aspectos pouco conhecidos da sua vida. Em 1954, a reportagem de António Rosa Casaco foi republicada num álbum fotográfico intitulado Salazar na intimidade , em que o discurso assentava fortemente nas fotografias. Este artigo pretende analisar o retrato do ditador português oferecido por ambos os livros, que passou a ser descrito como uma 'anti-imagem': em vez de uma personagem heroica e determinada, o líder aparece como um indivíduo solitário, melancólico e ambíguo, que se sacrificou para servir o seu país.
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Sudaryanto, Sudaryanto, Soeparno Soeparno et Lilis Ferawati. « Politics of Language in Indonesia (1975-2015) : Study of History and Language Policy ». AKSIS : Jurnal Pendidikan Bahasa dan Sastra Indonesia 3, no 1 (9 septembre 2019) : 129–39. http://dx.doi.org/10.21009/aksis.030113.
Texte intégralRésumé :
Indonesia has a political concept of language that is always updated in a certain period of time. The concept was born from a scientific meeting entitled “Seminar Politik Bahasa Nasional” (1975), “Seminar Politik Bahasa” (1999) and finally, “Seminar Politik Bahasa” (2015). Each scientific meeting produces a concept of language politics that is complementary and updates the previous concept. Furthermore, the concept of language politics is closely related to the implementation of a language policy in Indonesia. The research method used is content analysis. The data sources used are books, document archives, and photographs that record language political events over a period of 40 years. The results of this study indicate that (1) the concept of national language politics in the version of the Seminar Politik Bahasa Nasional (1975) focuses more on aspects of Indonesian, regional languages, and foreign languages; the political concept of the national language version of the Seminar Politik Bahasa (1999) focuses more on aspects of Indonesian language and literature, regional language and literature, and foreign languages, and the national language politics version of the Seminar Politik Bahasa (2015) emphasizes improving the function of Indonesian language into an international language; and (2) the political concept of national language 1975 and 1999 language politics became the elaboration of Pasal 36 UUD 1945 and the 2015 political concept of language became the elaboration of UU No. 24 Tahun 2009 and PP No. 57 Tahun 2014.
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Singh, Vivek, Saket Hegde et Akanksha Atrey. « Towards Measuring Fine-Grained Diversity Using Social Media Photographs ». Proceedings of the International AAAI Conference on Web and Social Media 11, no 1 (3 mai 2017) : 668–71. http://dx.doi.org/10.1609/icwsm.v11i1.14952.
Texte intégralRésumé :
Diversity is an important socio-economic construct that influences multiple aspects of human lives from the prosperity of a city to corporate earnings and from criminal justice to health and social engagement. Large, heavily populated urban areas can be highly diverse at the city or even neighborhood level, but we know very little about how much people from diverse demographics (such as age and race) interact with each other. Previous work has shown that photos are important in social relationships. The growing presence of photos online and on social media, therefore presents a unique opportunity to study diversity in interactions. In this paper, we explore a novel approach to measure p-diversity, that is, a personal, photo-level diversity metric computed using social media data. Specifically, we focus on Instagram photos of multiple people interacting, and employ automatic methods for race, age, and gender estimation to quantify mixing in such photos. We compare and contrast this new measure of diversity with traditional (that is, census-based) metrics using a dataset for New York City. Results obtained motivate the use of social media photos to complement census data to develop cheaper, faster, mechanisms for studying diversity and applying them in social, economic, political, and urban planning contexts.
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Jackson, Michael. « Remembering Les Cleveland ». Back Story Journal of New Zealand Art, Media & ; Design History, no 7 (1 décembre 2019) : 5–23. http://dx.doi.org/10.24135/backstory.vi7.48.
Texte intégralRésumé :
As Michael Jackson notes in this profile, Les (Francis Leslie) Cleveland (1921-2014) was a man of many parts. As a New Zealand journalist, political scientist specializing in the media and a photographer, Cleveland is clearly a person of interest for a journal looking at New Zealand’s media and art history. An account of Cleveland’s life could alight on any one of a number of aspects but in this profile the author focuses on his early experiences in the Great Depression and the Second World War as the backstories central to understanding Les Cleveland.
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Menković, Mirjana. « Jovanka Broz i moda : kolekcija prve dame ». Issues in Ethnology and Anthropology 10, no 4 (4 mars 2016) : 873. http://dx.doi.org/10.21301/eap.v10i4.5.
Texte intégralRésumé :
The paper showcases a part of the collection of the first lady of SFRY, Jovanka Broz, captured in photographs taken between 1953 and 1980. The issue of the lack of primary sources is considered – the lack of objects and explicit attitudes of the first lady herself, with the goal of offering a methodological approach through which this deficiency could be overcome. The paper uses the method of chronological tracking of political events, trends in the world of fashion and events in the fashion industry, as well as statements by participants and witnesses of certain events. Through comparison of these three aspects, we indirectly arrive at a view of the relationship of Jovanka Broz to clothing and fashion, as well as to a view of the key influences of the first lady’s collection on the fashion choices of the political elite and the fashion industry of SFR Yugoslavia. Jovanka Broz’s public appearance changed over time, from a careful selection of photographs without personal comment, through the recording of statements on formal occasions, to giving interviews to chosen journalists on specific topics – these changes are noted in the paper. It can be concluded that the fashion choices of Jovanka Broz were, first and foremost, aligned with the protocols demanded by international diplomacy, as well as that Jovanka Broz herself approached this demands with the utmost diligence, as well as personal attitude.
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Hameed, Ahmed, et Bushra Jameel. « Media Usage for Pope Francesco's Visit to Iraq March 5, 2021 (A Semiotic Study of the Photograph Welcoming Of the Pope) ». Dirasat : Human and Social Sciences 50, no 5 (15 novembre 2023) : 664–77. http://dx.doi.org/10.35516/hum.v50i5.7616.
Texte intégralRésumé :
Objectives: The research aims to highlight the semiotic approach and apply it to a photograph of the Pope's reception at Baghdad International Airport, published on the page of the Media Office of Iraqi Prime Minister Mustafa Al-Kazemi in the Twitter application, in order to study its components, analyze its contents and clarify its implications, as well as approach the image as a political and media act. Methods: The stages of research were accomplished by "investigation, observation, and analysis", and the dismantling of the composition of the photograph, thus revealing the hidden and hidden aspects, relying on the semiotic approach to analysis. Results: The study showed that the ideas and meanings included in the image in form and content are in the framework of political marketing of the personality of Prime Minister Mustafa Al-Kazemi, as well as the presence of implicit connotations represented by the official personality and the cross, which expresses the importance of this segment in Iraqi society. Conclusion: The study concluded that the symbols, connotations and rhetorical methods employed in the image contributed to increasing its effectiveness in influencing and reaching the target audience because of its persuasive power through which it aims to attract and attract the recipient. The results of the analysis confirmed the ability of these symbols, connotations and rhetorical methods in communicating to the recipient the meanings inherent in the image on the one hand and achieving the goals of the sender on the other hand.
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Frach, Sylwia. « The Landscape as a Silent Witness of a Fragile Memory in Paweł Pawlikowski’s 2013 Film Ida ». Politeja 19, no 3(78) (24 novembre 2022) : 97–110. http://dx.doi.org/10.12797/politeja.19.2022.78.06.
Texte intégralRésumé :
This article focuses on Paweł Pawlikowski’s 2013 film Ida, analysing how the formal and aesthetic aspects question silent witnesses about the difficult past using pictures as a useful testifier. In the context of Poland’s national memory, its current political discourse and the Polish-Jewish relations during World War II, Ida offers a significant contribution. The process of scrutinising this difficult past becomes a journey, a troublesome event when a remembrance must be constructed and experienced. The film journey offers a possibility to get back to this period of time and encourages us to pose certain questions: how do sites of memory remain with us through cinematographic or photographic representations? How can we define this physical and mental landscape of the journey as being a fragile memory? Drawing on Carlo Ginzburg’s index paradigm, the author proceeds to reflect upon the traumatic events of the Holocaust in the Polish landscape through two important photographic moments related to cinema.
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Caldeira, Sofia P., Sander De Ridder et Sofie Van Bauwel. « Between the Mundane and the Political : Women’s Self-Representations on Instagram ». Social Media + Society 6, no 3 (juillet 2020) : 205630512094080. http://dx.doi.org/10.1177/2056305120940802.
Texte intégralRésumé :
Women’s self-representation on Instagram is often discussed in popular media in polarizing terms, as either an empowering practice or as boring and mundane. However, the political and the mundane are inevitably interwoven. This article grounds the discussions on how “the political” can be expressed through mundane Instagram practices on the analysis of individual self-representations of “ordinary” Instagram users (i.e., not celebrities or Insta-famous users). This research is based on a qualitative textual analysis of a sample of 77 randomly selected female Instagram users, ages 18–35, analyzing their photographic self-representations and its surrounding textual context—captions, comments, and likes. It explores how Instagram can broaden the scope of who and what is considered photographable, allowing for the representation of a wider variety of women and femininities underrepresented in popular media, and how this has the potential to upend hegemonic hierarchies of visibility. Following an Instagrammable aesthetic, these self-representations often take place in mundane contexts, as the photographable becomes extended to overlooked, yet essential, aspects of everyday life. It is in the context of these everyday self-representation practices that tangentially political themes become embedded, appearing in brief and often passing mentions that express self-worth, celebrate marginalized identities, or proclaim personal agency.
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Zylberman, Lior, et Adriana Taboada. « The Age-Impunity Rhetoric in Trials for Crimes Committed during the Argentinian Genocide (1975–1983) ». International Criminal Law Review 22, no 1-2 (15 octobre 2021) : 109–41. http://dx.doi.org/10.1163/15718123-bja10087.
Texte intégralRésumé :
Abstract Since the reopening of the trials for the crimes committed by the last military dictatorship, new aspects have emerged on the scene, one of them being the age-impunity rhetoric. In its visual dimension, we understand this rhetoric to mean the representation of the perpetrators that has been taking shape in recent years, enabling them to be exempted from guilt and responsibility for the crimes committed by virtue of their advanced age. We argue that the visual configures a certain aesthetic that provides a scaffolding for impunity and its naturalization. In order to enter into the construction of this representation, we will put in tension the pair seen-unseen through photographs and editorials in the written press.
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Urban, Marek, Dany Josué Vigil Avilés, Miloš Bojović et Kamila Urban. « Artificial, cheap, fake : Free associations as a research method for outdoor billboard advertising and visual pollution ». Human Affairs 30, no 2 (28 avril 2020) : 253–68. http://dx.doi.org/10.1515/humaff-2020-0023.
Texte intégralRésumé :
AbstractThe free association method is often employed in marketing research to investigate perceptions of a particular product or brand in different socio-cultural groups of customers. In our research, international and domestic students produced free associations in response to photographs of outdoor billboards from two different locations in one city (city centre and outskirts). The results indicate that free associations can depict qualitative aspects of outdoor billboards like poor quality (relating to the categories of amateurish and fake), problematic content (relating to female stereotypes, gender stereotypes and cultural differences), and that they have the potential to capture the general atmosphere of the neighbourhood (categories of decay, depression, danger and past).
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Lechte, John. « Bataille : Image and Victim ». Theory, Culture & ; Society 38, no 4 (8 février 2021) : 3–22. http://dx.doi.org/10.1177/0263276420986618.
Texte intégralRésumé :
This article aims to reveal aspects of the relation between the image and the victim in Georges Bataille’s writing, certainly as this applies to writings on art, but more particularly as it applies to Bataille’s relation to the victim of torture in the photographs of Chinese lingchi punishment, which entails physical dismemberment. It will be shown that Bataille does not have a ‘media specific’ approach to the image but reflects Sartre’s notion of the image. Critiques of Bataille’s relation to the lingchi photos will be addressed (notably that of Hollywood), so as to clarify what is at stake in the relation between image and victim.