Le plan de l’expression des images: Quelques réflexions sur support et apport

Semiotica ◽  
2020 ◽  
Vol 2020 (234) ◽  
pp. 253-270
Author(s):  
Maria Giulia Dondero
Keyword(s):  
Digital Image ◽  
The Third ◽  
Works Of Art ◽  
Semiotic Approach ◽  
History Of ◽  
The Media ◽  
The Moment ◽  
Image Analyses ◽  
Media Characteristics

AbstractIn this article we plan to revisit the notion of substance of the plane of expression, as found in semiotic studies of the image, and how this notion relates to the concepts of purport and form. The article is divided into three parts: The first section gives a brief history of the various ways substance has been addressed in (or excluded from) image analyses based on Greimassian semiotics and Groupe μ rhetoric. Drawing upon Jacques Fontanille’s semiotics of practices and Jean-François Bordron’s theory of iconicity, the second section concerns proposals that attempt to address the “moment” of giving substance in autographic works of art – and also in writing –, through notions of support, application, and the gestural act of inscription. The third section tests these methodological tools on chemical photography and on digital image-making in order to propose a new, specifically semiotic approach to studying the media characteristics of images.

Marrying “Well”: Debating Consanguinity, Matrimonial Law, and Brazilian Legal Medicine, 1890–1930

2015 ◽  
Vol 33 (3) ◽  
pp. 703-743 ◽  
Author(s):  
Okezi Otovo
Keyword(s):  
Catholic Church ◽  
Critical Issue ◽  
Civil Code ◽  
Law Schools ◽  
The Third ◽  
History Of ◽  
The Law ◽  
Old Republic ◽  
The Moment ◽  
Special Circumstances

On August 28, 1919, Brazil's most famous pediatrician, Dr. Carlos Arthur Moncorvo Filho, addressed his colleagues at the illustrious National Academy of Medicine in Rio de Janeiro, reminding them that consanguineous marriage was the topic of the moment. Dr. Moncorvo Filho's insistence that “everyone knew why” was a reference to a proposal made before the Senate just three months prior by Senators Eloy de Souza of the state of Pernambuco and Álvaro de Carvalho of São Paulo. The senators proposed that language prohibiting marriage between blood relatives in the recently ratified Brazilian Civil Code be amended to allow for special juridical or medical dispensation. Souza and Carvalho, with the backing of the Catholic Church and a minority of members of the Brazilian Institute of Attorneys, supported permitting marriage between third-degree relatives under special circumstances. At issue for the attorneys was how the law would deal with situations in which couples had a compelling need to marry within the third degree of kinship. A recent case of an uncle who had “deflowered” his niece and then offered to “remedy the damage” through marriage brought this issue to public debate. Marriages between uncles and their nieces and aunts and their nephews (third-degree relations) were traditional in Brazil, and Brazilian law had a long history of yielding to custom and context. However, under the new laws of the 30-year-old republic, this type of marriage was no longer legal, having been specifically prohibited by the 1916 Civil Code. Senators Souza and Carvalho, both lawyers by training, proposed reforming the Code, while their ultimately unsuccessful amendment sparked vigorous debate in both legal and medical circles on the validity of marriage restrictions within the third degree of consanguinity. As a result, physicians at Brazil's leading medical schools and their jurist counterparts at the law schools took sides on this critical issue, dividing themselves into rival camps of consanguinistas and anticonsanguinistas.

scholarly journals The Image of Homeland in the Works by Alphonse Mucha “Madonna of the Lilies”, the Poster for “The Lottery of the Union of Southwest Moravia” and the Poster for “The Slav Epic Exhibition”

2020 ◽  
pp. 1007-1019
Author(s):  
Yuliya S. Zamaraeva ◽  
Kseniya V. Reznikova ◽  
Natalya N. Seredkina
Keyword(s):  
Initial Moment ◽  
Russian Scientist ◽  
Native Land ◽  
The Third ◽  
History Of ◽  
Meaningful Analysis ◽  
History Of Culture ◽  
The Moment

Understanding the specifics of creativity, the features of the artistic method of not a single artist can be achieved without a meaningful analysis of their works. The purpose of this study is to analyse three works by the Czech artist A. Mucha “Madonna of the Lilies”, the Poster for “The Lottery of the Union of Southwest Moravia” and the Poster for “The Slav Epic Exhibition”, to reveal the programmatic content of each of these works, as well as their general artistic idea. The works by A. Mucha were analysed using the method proposed and justified in the field of theory and history of culture by the Russian scientist V.I. Zhukovsky. This technique determined the logic of analysis of the selected works. Such methods as observation, formalisation, analysis, synthesis, analogy, extrapolation and interpretation were applied. The result of a methodical analysis of the three selected works by A. Mucha testifies to the programmatic creativity of the artist, to a single semantic regularity in his works. The key theme uniting all three works being analysed is the theme of divine patronage of the homeland (native land, people). However, the authors draw attention to a number of aspects of visualisation of this topic in each of the works. If the work “Madonna of the Lilies” expresses the idea of patronage in its very initial moment, the moment of faith in patronage coming from above, then in the poster of the lottery divine patronage becomes doubtful. Nevertheless, the analysis of the poster for “the Lottery of the Union of Southwest Moravia” revealed a number of artistic signs indicating the possibility of a revival of faith in patronage. Based on the interpretation of these signs, such conditions for the revival of faith as the lack of fear “to look and see, to fight” were formulated. Confirmation of the idea of revival is expressed in the third analysed work of the artist, i.e. the poster for “The Slav Epic Exhibition”. Methodical analysis allowed us to characterise this work as a statement of fulfilled expectations, prosperity and dawn at the same time. The terms “death, withering, fossil”, which are defined as temporary phenomena, act as a programmatic condition expressed through the artistic signs of the work

scholarly journals What does the murder of a journalist, and follow-up events, tell us about freedom of the press and politics in a European country?

2019 ◽  
Vol 12 (1) ◽  
pp. 25-43
Author(s):  
Andrej Školkay
Keyword(s):  
Prime Minister ◽  
Societal Change ◽  
Political Actor ◽  
Ideal Model ◽  
The Third ◽  
The Press ◽  
History Of ◽  
The Media

In February 2018, Slovakia’s long history of the absence of journalist murder cases ended, when a young investigative journalist, Jan Kuciak, and his fiancee were murdered in their home. While previous cases of the disappearance of journalists cannot be totally dissociated from the possibilities of murder, a lack of evidence qualified this case as the first. The cascade of events which followed further emphasise its importance. Prime Minister Robert Fico was forced to resign. Resignations of the Minister of Culture, almost immediately, and two Ministers of the Interior followed. Subsequently, the third nominee for the position of Minister of the Interior was not approved by the President. These events were largely influenced by the media and public protests on the streets — some demonstrations were larger than those conducted during anti-communist protests in late 1989. Consequently, the role of the media as the key political actor following the murder of the journalist, represents an ideal model for analysing the influence of media in political and societal change. 

The Sublime Conditions of Contemporary Art

2011 ◽  
Vol 5 (1) ◽  
pp. 73-83 ◽  
Author(s):  
Stephen Zepke
Keyword(s):  
Contemporary Art ◽  
Common Sense ◽  
Aesthetic Experience ◽  
Genetic Model ◽  
Human Perception ◽  
The Third ◽  
The Sublime ◽  
History Of ◽  
Conditions Of Possibility ◽  
The Moment

Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘aesthetics’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘modernism’, and to the discussion of his possible relevance to contemporary artistic practices.

Structural History of The Insula

1997 ◽  
Author(s):  
Roger Ling ◽  
Paul Arthur ◽  
Georgia Clarke ◽  
Estelle Lazer ◽  
Lesley A. Ling ◽  
...  
Keyword(s):  
Empty Space ◽  
Wall Painting ◽  
First Century ◽  
Diagnostic Features ◽  
The Third ◽  
Irregular Shapes ◽  
Structural History ◽  
History Of ◽  
The Moment ◽  
Early Phases

Having looked at the different units within the insula individually, we now need to review and summarize the structural history of the insula as a whole. As stated in Part One, Section 4 (pp. 19-20), the sequence has been divided into five main phases. The first corresponds to structures in opera a telaio and related techniques; the second to the First Style of wall-painting, i.e. mid-second to early first century BC (structures generally in opus incertum with a preponderance of lava and Sarno stone); the third to the Second Style of wall-painting, i.e. broadly the period from c.80 BC to the last years of the century; the fourth to the Third Style of wall-painting, i.e. broadly the period from the late first century BC to the mid-first century AD; and the fifth to the Fourth Style of wall-painting, i.e. the period from C.AD 50 to AD 79. In contrast to the preliminary report, this survey does not attempt to subdivide the phases, except in the more eventful Phase 5, since this approach now seems unduly rigid and implies a degree of precision beyond what the evidence warrants. Some of the main points in which the present analysis differs from the earlier one will be referred to in footnotes. Inevitably many aspects of the interpretation remain uncertain, particularly with regard to the early phases. Selective excavation might fill some of the gaps, but at the moment the early phase plans necessarily contain large areas of empty space or fragments of unrelated walling. Only where there is some ground for predicting missing elements have parts of plans been restored, but even then it has sometimes been necessary to choose between alternative restorations. The diagnostic features are the use of opera a telaio and inferences from the property boundaries and wall alignments. The Irregular shapes of houses 3,7, and 16 imply that they have been inserted in the gaps between pre-existing properties; we may, therefore, suggest that houses 1, 4, and 8 belong to the earliest development in the insula.

scholarly journals As máquinas do Brasil / The Machines of Brazil

2019 ◽  
Vol 15 (1) ◽  
pp. 171
Author(s):  
Pedro Rena Todeschi ◽  
Sérgio Alcides Pereira do Amaral
Keyword(s):  
Google Maps ◽  
Brazilian Literature ◽  
The Past ◽  
Carlos Drummond De Andrade ◽  
Luis De Camoes ◽  
Brazilian Cinema ◽  
The World ◽  
History Of ◽  
The Media ◽  
The Moment

Resumo: Este ensaio se propõe a esboçar uma montagem de obras de arte que se relacionam com as máquinas do Brasil: a máquina do Mundo colonial (Vera Cruz, de Rosângela Rennó e Os Lusíadas, Luís de Camões); a máquina do mundo mineradora (A máquina do mundo, Carlos Drummond de Andrade); a máquina de controle do Google Maps (Nunca é noite no mapa, de Ernesto Carvalho); a Grande Máquina do capitalismo contemporâneo (Brasil S/A, de Marcelo Pedroso e Arábia, de Affonso Uchoa e João Dumans); a máquina do golpe midiático (Lígia, de Nuno Ramos) e judiciário (O processo, de Maria Augusta Ramos); e a re-existência na máquina (Action Lekking, de Negro Leo). Nosso objetivo não é o de fazer uma análise em profundidade das obras, mas de traçar um panorama de como a arte revela, interpreta e resiste às diversas máquinas do Brasil. Uma questão central que guiou nosso texto é o modo como a arte se relaciona e intervém esteticamente, no calor do momento, com a política e a história de nosso país. Quando não tratamos de obras contemporâneas, tentamos extrair de obras do passado, como as de Camões, Drummond e Leon Hirszman, reflexões que nos fornecem elementos para a interpretação de nosso presente.Palavras-chave: a máquina do mundo; literatura brasileira; cinema brasileiro contemporâneo.Abstract: This essay proposes to outline an assemblage of works of art that are related to the machines of Brazil: the colonialist world machine (Vera Cruz, Rosângela Rennó and Os Lusíadas, Luís de Camões); the mining world machine (A máquina do mundo, Carlos Drummond de Andrade); the control machine of Google Maps (Nunca é noite no mapa, Ernesto Carvalho); the Great Machine of the contemporary capitalism (Break S/A, Marcelo Pedroso and Arabia, Affonso Uchoa and João Dumans); the coup machine of the media (Lígia, Nuno Ramos) and the judiciary (O processo, Maria Augusta Ramos); and the re-existance in the machine (Action Lekking, Negro Leo). Our goal is not to analyse in thoroughness the works, but to draw a panorama of how art brings about, interprets and resists to the different machines of Brazil. One of the pivotal matters that has guided our text is the way art relates to itself and interferes aesthetically in the heat of the moment to the politics and history of our country. When we do not talk about contemporary works, we try to extract from works of the past such as Camões, Drummond and Leon Hirszman reflections that provide us elements to the interpretation of our present.Keywords: the world machine; Brazilian literature; contemporary Brazilian cinema.

scholarly journals Ludwik Wołowski and His Contribution to the French Credit Revolution of the 19th Century

2021 ◽  
Vol 39 (1) ◽  
pp. 3-32
Author(s):  
Rafał Dobek
Keyword(s):  
Mortgage Loan ◽  
Political Activity ◽  
Second Empire ◽  
Second Republic ◽  
Theoretical Concepts ◽  
The Third ◽  
History Of ◽  
The Moment ◽  
The 19Th Century ◽  
Mortgage Law

Abstract Ludwik Wołowski was a Polish November emigrant in France. There, he gained recognition as an outstanding economist, banker and republican politician. The article focuses on the issue of mortgage loan, which is extremely important for Wołowski. It presents both the theoretical concepts of the Pole from 1834, his political activity in the years 1848–1851 aimed at changing the provisions of the mortgage law in France, and finally the moment of co-creation by Wołowski Crédit Foncier, the first modern mortgage bank in France, and the further history of the bank managed by Wołowski, in the board of which he sat until his death in 1876. In the first part, the text presents not only the criticism of the French mortgage system by Wołowski (primarily the so-called secret mortgages), but also his draft changes and the loan and mortgage model proposed by him and the companies that may grant it. In the second, it shows the parliamentary activity of Wołowski, an attempt to force through appropriate changes in the banking law and the reasons for its defeat. In the third, the most extensive, the article describes not only the very moment of establishing Crédit Foncier and the two-year period of management by Wołowski, but also the further, controversial operation of the bank until the second half of the 1870s. All this against the backdrop of the changing French Monarchy of July, the Second Republic and the Second Empire.

UPAYA MENINGKATKAN HASIL BELAJAR IPA MELALUI PENGGUNAAN VIDEO PEMBELAJARAN BAGI SISWA KELAS IV DI SDN 187/IV KOTA JAMBI

2015 ◽  
Vol 8 (2) ◽  
pp. 93
Author(s):  
Juniar Siregar
Keyword(s):  
Action Research ◽  
Research Method ◽  
Research Report ◽  
The Third ◽  
The Media ◽  
The Subject ◽  
The Mean ◽  
Classroom Action Research

This study presents a research report on improving students’ Learning results on IPA through Video. The objective was to find out whether students’ learning result improved when they are taught by using Video. It was conducted using classroom action research method. The subject of the study was the Grade IV students of SDN 187/IV Kota Jambi which is located on Jln. Adi Sucipto RT 05 Kecamatan Jambi Selatan, and the number of the students were 21 persons. The instruments used were test. In analyzing the data, the mean of the students’ score for the on fisrt sycle was 65,4 (42,85%) and the mean on cycle two was 68,5 (37,15%) and the mean of the third cycle was 81,4 (100%). Then it can be concluded that the use of video on learning IPA can improve the students’ learning result. It is suggested that teachers should use video as one of the media to improve students’ learning result on IPA.Keywords : IPA, students’ learning result, video

A Universe of Societies

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Spatial Relations ◽  
The Third ◽  
The Status ◽  
History Of ◽  
Temporal And Spatial

Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.

The Origins of Gritty Realism on British Television: Euston Films and Special Branch

2014 ◽  
Vol 11 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Max Sexton
Keyword(s):  
Cultural Discourse ◽  
Technological Changes ◽  
Television Drama ◽  
The Third ◽  
Fourth Series ◽  
History Of

Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.

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