The Understanding and Uses of the “Day Court Diagram” in Qin-Han Hemerology and Calendrical Astrology

2020 ◽  
Vol 3 (2) ◽  
pp. 294-343
Author(s):  
Marc Kalinowski
Keyword(s):  
Geometric Pattern ◽  
Text And Image ◽  
Technical Features ◽  
Excavated Manuscripts ◽  
The Relationship

Archaeological discoveries related to hemerology and calendrical astrology have drawn attention to the existence of a square geometric pattern consisting in its simplest form of a central cross and four right angles in the corners opening to the exterior. In this paper I examine the most common terms used in modern research to name the diagram. I then rank the existing diagrams based on the specific contexts for which they were designed, along with a presentation of the technical features of each diagram. Finally, I show how the various forms taken by these diagrams may lead to a better understanding of their meaning and functions and provide preliminary answers to questions such as the purpose of inserting a diagram in a technical text, the advantage of a diagram compared with a list or a table, and more generally, the relationship between text and image in the excavated manuscripts.

Determinants Considered by Consumers for Brand Selection - with Reference to Laptops in Albania

2014 ◽  
Vol 4 (2) ◽  
Author(s):  
Margret Plloçi ◽  
Macit Koc
Keyword(s):  
Primary Data ◽  
Battery Life ◽  
Decision Making Process ◽  
Light Weight ◽  
Sources Of Information ◽  
Technical Features ◽  
The Relationship ◽  
The City ◽  
Different Sources ◽  
Core Features

Abstract Purpose of the article There is relatively a big number of brands in the market of laptops nowadays in Albania. It appears that the number of brands offered in this market could easily be compared to the number of brands in Europe and even broader. The purpose of this study is to help Albanian vendors understand the criteria that consumers take into consideration when they make the decision to purchase a laptop. Methodology/methods The research is based on the collection and the analyses of the primary data collected through interviews to people like managers or employees who work in the sector of trading laptops or in businesses like education where laptops are broadly used recently; then a survey is done through a questionnaire delivered to customers who already own and use a laptop and customers who are potential buyers of laptops. Scientific aim The aim of the research is to identify if there are any relationships between the demographics of the consumers and the criteria of buying a laptop; on the other hand, to find out how is the relationship between the demographics and the features of different brands. Findings The study found out that Albanian consumers have good knowledge of laptops and their brands, and they use different sources of information for making their decisions in buying a laptop; it is found that there are relationships between some demographics like age or gender and the appraisal for some attributes of the laptops like price, design and high graphics card; it is also found that some technical features and other attributes of using laptops are some of the determinants that influence the laptops’ purchases. Conclusions It is realized that one of the most important demographics of the consumers is their age. Some core features like RAM, ROM, battery life, processor quality, light weight or attributes that are connected to the purposes of using the laptop computers like practicality and mobility in using them, work and studying processes, quick access to the internet are determinant factors which influence the decision making process of purchasing a laptop. I would recommend that future researches be focused also on the relationship between the customers’ income and their preferred brand or ranking brands according to the customers’ preferences. Such studies should also extend outside the city of Tirana.

Figures of Memory

2019 ◽  
pp. 51-62
Author(s):  
Farriba Schulz
Keyword(s):  
Text And Image ◽  
Historical Events ◽  
Holocaust Education ◽  
The Past ◽  
Recent Addition ◽  
Historical Photographs ◽  
The Relationship ◽  
Journal Entries ◽  
Graphic Interpretation ◽  
Anne Frank

Artikelbeginn:[English title and abstract below] Als global bekanntes Erinnerungsnarrativ nimmt Das Tagebuch der Anne Frank (erste deutsche Fassung 1950) einen bedeutenden Part in der Holocaust Education ein. Dabei beteiligt sich die grafische Adaption von Ari Folmans und David Polonskys Das Tagebuch der Anne Frank. Graphic Diary (2017) auf zweierlei Art am Fortschreiben des kulturellen Gedächtnisses; einerseits in seiner Geformtheit durch die Publikation selbst und darüber hinaus in seiner Organisiertheit aufgrund der institutionalisierten Kommunikation (vgl. Assmann 1988, S. 12). Figures of MemoryAnne Frank’s Diary between Text and Image, Word and Symbol Anne Frank’s Diary: The Graphic Interpretation by Ari Folman and David Polonsky (2017) is a recent addition to a sequence of editions that have shaped the perception of Anne Frank’s story. At the same time, the ethics and aesthetics of remembrance have been consistently discussed. These discussions have been fueled by discourses on memory as well as by the reimagination of the past by new generations. As Marianne Hirsch states »Postmemory’s connection to the past is [...] actually mediated not by recall but by imaginative investment, projection, and creation« (Hirsch 2012). Ari Folman and David Polonsky work with those imaginative approaches and reshape historical events on the visual and the verbal narrative levels. As with Waltz with Bashir (2009), on which Folman and Polonsky collaborated successfully as author and illustrator, Anne Frank’s Diary is also an extraordinary testimony of war based on extensive research. Intermedial references, such as historical photographs, documentaries and journal entries add authenticity to Anne Frank’s Diary: The Graphic Interpretation and lead the reader on a journey back in time. This article discusses the relationship between the visual representation of memory in the Diary and how it goes about narrating the story, and it examines this graphic novel’s potential for shaping and reshaping the reader’s perception of history.

Metaphoric moral framing and image-text relations in the op-ed genre

2018 ◽  
Vol 24 (1) ◽  
pp. 42-66
Author(s):  
Ahmed Abdel-Raheem
Keyword(s):  
General System ◽  
Visual Metaphor ◽  
Text And Image ◽  
Visual Metaphors ◽  
Moral Framing ◽  
Process Work ◽  
The Relationship ◽  
Large Corpus ◽  
Political Cognition

This article examines the role of visual metaphor for moral-political cognition. It makes use of a large corpus of 250 multimodal op-eds about the Euro crisis and lays the foundation for establishing a general system of image-text relations in the op-ed genre. Specifically, the paper addresses the following questions: Is there a difference between a cartoon and an illustration? Why do not op-ed illustrations have captions? What role does layout play in conveying meaning? How do ‘op-ed’ and ‘illustration’ relate to each other in terms of the metaphors and moral values employed in both of them? What is the nature of the relationship between the two? How does the illustrating process work? Should the text and image be considered as a single unit or as two separate (though related) units? Moreover, the results of this research will show that visual metaphors can exert a strong effect on individuals’ moral-political cognition.

Passages, Interférences, Hybridations: Le Film de théâtre

2001 ◽  
Vol 26 (2) ◽  
pp. 190-198
Author(s):  
Béatrice Picon-Vallin
Keyword(s):  
Text And Image ◽  
Different Types ◽  
The 1950S ◽  
The Relationship ◽  
Deep Crisis

The cinema's developments in lighting, sound and image technology have helped the theatre, and have also allowed its aesthetics to become lighter (Strehler) as well as more complex (Langhoff). Films have originated in plays (not least Louis Malle's Vanya on 42nd Street, which has been accused of wiping away all traces of the theatre, when, in fact, this eradication was part of the staged work itself); and films have passed into plays (for example, Miracle in Milan staged by Zadek in 1993 after De Sica's film). The distinction between text and image, which defined the theatre/cinema split, is far less useful than distinctions between different types of images. The flux of audiovisual, informational and advertising images today has put the relationship between image and truth, as conceived by Bazin in the 1950s, into deep crisis. The theatre film transfers the dialogue between the stage and the audience into a dialogue between theatre and cinema, and is a meeting, rather than a fusion, between these two arts.

scholarly journals Building the Tourist Destination Through Multiple Semiotic Modes

2021 ◽  
Vol 11 (4) ◽  
pp. 83
Author(s):  
Olga Denti
Keyword(s):  
Single Unit ◽  
Functional Approach ◽  
Mobile Technologies ◽  
Visual Design ◽  
Cultural Meanings ◽  
Text And Image ◽  
Tourist Destination ◽  
Tourist Gaze ◽  
The Relationship ◽  
Over Time

Over time, multiple semiotic modes have contributed in different ways to the construction and exchange of cultural meanings in Tourism Discourse. This has required the analysis and understanding of the modes employed and the recontextualization and adaptation of texts and images, especially to the new web genres. Nowadays, the tourist experience is mediated by personal, digital, and mobile technologies, which redirect the tourist gaze and become the mediator between the traveler and the tourist destination. Consequently, the tourism text must be considered as a single unit, where different semiotic resources intermingle to enhance its communicative strength. The present study will attempt to propose a methodology to read and write tourism texts in a comprehensive and effective way. It will start by focusing on the relationship between text and image to see how they co-exist in the page and in the way the page is arranged. Then, it will apply a functional approach to the analysis of such semiotic units. The result will show how the boundaries between image and text have become blurred, and textuality is built less through verbal syntax and more through rhetorical visual design.

scholarly journals Vertiginous pleasures

2021 ◽  
Author(s):  
David Kerr
Keyword(s):  
Social Identity ◽  
Social Relations ◽  
Final Analysis ◽  
Consumer Products ◽  
Consumer Product ◽  
Text And Image ◽  
Complex Processes ◽  
The World ◽  
The Relationship

In the opening lines to his unique collection of cinematic art, Italian Movie Posters, Dave Kehr reminds us that "in the final analysis, movie posters are advertisements-in other words, promises made to be broken. But what glorious promises they make" (9)1 In large part this text is dedicated to exploring these very promises, not so much to celebrate the grandeur and bombast of the film poster but to understand the complex processes of interaction that exist between a film, its posters, and their audiences. Of course, the promises that Kehr is referring to are the more or less straightforward ones posters make when they implicitly offer us the chance at experiencing the films they promote as glamorous, adventurous, terrifying, and seductive. In this respect, film posters, like all forms of advertising, seek to create audiences by attaching a fixed social identity to a product that is by its nature polysemic, representing too many things to too many people to be completely represented by any single combination of text and image. Unlike most consumer products however, films are ephemeral in nature, disappearing from view the minute they have been consumed, and like dreams they are only half-remembered by those who have consumed them. Consequently, the relationship between the film and its poster is not quite the same as the relationship between a tangible consumer product and the advertising imagery that sells it. The intangibility of films, in that they are seen only temporarily in the dark and quiet confines of the theatre and our living rooms, make them especially in need of a body, a corporeal vehicle with which they can circulate in the world. In a consumerist culture such as ours, where social relations are structured through the fetishization of commodities, ephemeral products such as films leave consumers needing a tangible emblem, either because they crave owning a piece of what they love or simply to see for themselves whether or not a film is in fact "my kind of movie."

scholarly journals Vertiginous pleasures

2021 ◽  
Author(s):  
David Kerr
Keyword(s):  
Social Identity ◽  
Social Relations ◽  
Final Analysis ◽  
Consumer Products ◽  
Consumer Product ◽  
Text And Image ◽  
Complex Processes ◽  
The World ◽  
The Relationship

In the opening lines to his unique collection of cinematic art, Italian Movie Posters, Dave Kehr reminds us that "in the final analysis, movie posters are advertisements-in other words, promises made to be broken. But what glorious promises they make" (9)1 In large part this text is dedicated to exploring these very promises, not so much to celebrate the grandeur and bombast of the film poster but to understand the complex processes of interaction that exist between a film, its posters, and their audiences. Of course, the promises that Kehr is referring to are the more or less straightforward ones posters make when they implicitly offer us the chance at experiencing the films they promote as glamorous, adventurous, terrifying, and seductive. In this respect, film posters, like all forms of advertising, seek to create audiences by attaching a fixed social identity to a product that is by its nature polysemic, representing too many things to too many people to be completely represented by any single combination of text and image. Unlike most consumer products however, films are ephemeral in nature, disappearing from view the minute they have been consumed, and like dreams they are only half-remembered by those who have consumed them. Consequently, the relationship between the film and its poster is not quite the same as the relationship between a tangible consumer product and the advertising imagery that sells it. The intangibility of films, in that they are seen only temporarily in the dark and quiet confines of the theatre and our living rooms, make them especially in need of a body, a corporeal vehicle with which they can circulate in the world. In a consumerist culture such as ours, where social relations are structured through the fetishization of commodities, ephemeral products such as films leave consumers needing a tangible emblem, either because they crave owning a piece of what they love or simply to see for themselves whether or not a film is in fact "my kind of movie."

“Susanna and the Elders”: On the visual semiotic of shame

Semiotica ◽  
2017 ◽  
Vol 2017 (216) ◽  
pp. 201-224
Author(s):  
Alexander Kozin
Keyword(s):  
Visual Arts ◽  
Historical Context ◽  
Narrative Structure ◽  
Main Subject ◽  
Text And Image ◽  
Legal Process ◽  
Jean Paul ◽  
Law And Justice ◽  
Late Renaissance ◽  
The Relationship

AbstractThis paper is located at the juncture of text and image, law and justice, religion and rationality, while its main subject is set to be visual expressions of the law-relevant emotion of shame. Specifically, I suggest that the late Renaissance academic depictions of “Susanna and the Elders,” based on The Holy Bible, “Daniel 13,” namely Rubens (1607), van Dyck (1621–1622), and Rembrandt (1647), disclose the conditions under which the authentic meaning of the text can be understood both beyond the moral denunciation of sinfulness and/or the study of the nude in a particular historical context of Flemish Baroque. In fact I argue that the three artists co-create and elaborate the Biblical text by drawing shame from its narrative structure in order to disclose this emotion in affection-image as being relevant to the legal process and central to the text. Special attention is given to the relationship between text and image. For my theoretic I use Jean-Paul Sartre’s theory of emotion and Gilles Deleuze’s work on visual arts.

Astrolabes on Parchment: The Astrolabes Depicted in Alfonso X’s Libro del saber de astrologia and Their Relationship to Contemporary Instruments

2017 ◽  
Vol 23 (1-5) ◽  
pp. 287-310 ◽  
Author(s):  
Laura Fernández Fernández
Keyword(s):  
Main Topic ◽  
Text And Image ◽  
The Real ◽  
The Relationship ◽  
Written Sources

Abstract This article analyses the relationship between text and image in one of the most important scientific manuscripts commissioned by Alfonso x the Learned, El Libro del saber de astrologia (Ms. 156 bh Complutense University, Madrid). The main topic deals with the depiction of astrolabes in the four treatises devoted to this instrument in the codex, and the connexion established between the real astrolabes, the depicted ones, and the written sources used by the Alfonsine team.

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