Visual Semiotics Analysis on Webtoon Sweet Home

Webtoon is one of the mediums in delivering thoughts, point of view and life values with others; one of them is sweet home webtoon. By using visual Semiotic analysis, this study aimed to identify signs used in the Webtoon Sweet Home and to interpret the meanings of the Semiotic signs used in the Webtoon. The data source of this study is the serial comic entitled Sweet Home in the Webtoon which were technically collected using the qualitative method and visual materials in addition to applying the LINE Webtoon. Twenty six data were analyzed using the Visual Semiotic study proposed by Charles Sanders Peirce, including representamen, object and interpretant. Additionally, this study used three steps in interpreting the signs namely, non-verbal communicative legisign, framing techniques and communicative act. The study found that legisign was used on the panels in the Webtoon Sweet Home has general information in which the writer wishes to tell the readers. The legisign represents the meaning of the images portrayed in the Webtoon. Furthermore, the non-verbal communication legisign was identified based on facial expression, body language, posture and gesture. The framing technique concern what image shows, and the communicative act was analyzed based on the verbal sign found the Webtoon Sweet Home.

Barriers to Teaching English Productive Skills in Online Classroom: A Study at the Private Universities in Bangladesh

This paper aims at investigating the barriers to teaching productive skills in English in an online platform in the private universities of Bangladesh and attempt to find out the solutions regarding this issue, focusing mainly on the private universities outside Dhaka. Since English is a significant communication tool, it is indispensable to speak and write correctly in English. However, the students have often struggled to speak fluently and write well. As a result, it is necessary to find the main barriers to teaching these two productive skills. In addition, due to the COVID-19, teaching and learning have shifted from real life to virtual classrooms. The existing problems underlying teaching English productive skills have been more crucial in a virtual platform. Therefore, through questionnaire for teachers and classroom observation data was collected from six private universities outside Dhaka, and it has been found that the problems lie mainly in the inability to change the teaching methods and techniques according to the need of an online classroom alongside network issues interrupting effective communication and time management. In an online classroom, the teachers cannot involve the students in pair and group work for speaking and writing activities and provide feedback. Based on the study's findings, it is recommended that more speaking and writing practice in the classroom, interesting visual materials, constant motivation, feedback, and teachers' training were essential to overcome the challenges faced by the teachers for teaching productive skills in English in an online classroom.

Visual Appropriation: A Self-reflexive Qualitative Method for Visual Analysis of the International

This article introduces visual appropriation as a method in critical international political thinking and acting, contributing to the evolving repertoire of multiple, pluralist methods for visual analysis of international relations operating in a digital visual environment. We define appropriation as reuse of existing visual material—either in its entirety or in part—without substantially altering the immanent characteristics of the appropriated material. As appropriators, scholars are producers of images who capitalize on and actively participate in digital visuality (seeing–changing–sharing). Appropriators are both image-analysts and image-actors but distinct from both, contributing not only to the visual analysis, but also to the visual construction of international relations. Approaching the international through appropriation grants researchers increased agency and responsibility vis-à-vis existing visual materials “out-there.” Rather than exploring a digital space of visual images produced and appropriated by others, researchers consciously and deliberately partake in the production and dissemination of images. As a result, we highlight how we—as scholars and as citizens—are facing research-ethical problematiques linked to ways of showing and seeing inevitably emanating from appropriation.

The Origin and Formation of the National Symbols of Catalonia within the Framework of the Renaixença and their Visual Representation in the 19th Century

The article presents the study of national symbols of Catalonia: their emergence and visual representation in the art of the 19th century. National symbolic system of Catalonia date back to the Renaixença movement in literature that initiated the formation of the Catalan language and literature. The scope and purpose of the article included an investigation of the works of the most prominent representatives of the Catalan national renaissance in order to identify the origins of the symbols they deploy. Consideration of symbols serves the purpose of defining the way national aspects get their visual representation. The method of historical typology was used to systematize the sources. Memoirs and publications in the press were analyzed with the textual method, and visual materials – with stylistic and iconic methods. Detailed research of the works of Renaixença has shown that Catalan cultural code initially emerged in poetry. In the second half of the 19th century, the symbols acquired visuality in fine art, namely paintings and visual design of the front pages of Catalan newspapers and magazines. The article provides a detailed account of selected examples of such visuals. At that time, Catalan intellectuals created works devoted to the history of Catalan-speaking lands, seeking to find roots that would picture the ancient nature of their motherland. They searched the archives and looked into medieval literature and folklore to prove the continuity of prosperous medieval Catalonia, part of the Kingdom of Aragon, and nineteenth-century Catalonia. Thinking over national history gave birth to national identity. At the same time history acquired a visual dimension. Churches, monasteries, memorable dates, leaders and thinkers that bore distinct national identity were visualized. Medieval plots penetrated art that tapped into heroic deeds of the past for inspiration. The spread of visual images helped bridge the gap between past and present. The newly acquired continuity of tradition strengthened the national narrative. The process enabled the national unity of the Catalan people with the central idea of an imaginary community of a nation-state.

Digital Technologies in the Field of Culture: Theorizing the Issue of Digital Data and Cultural Heritage

The purpose of the research is to reveal the peculiarities of the digital collections functioning in the field of cultural heritage. Research methodology is based on the application of a systematic approach to the digitization issue’s study of cultural heritage sites and museum practice. The scientific novelty of the obtained results is the issue’s actualization of the functioning of digital collections of cultural heritage in the cultural context, the statement of the digital canon expansion in the field of cultural heritage. Conclusions. It is emphasized that the discrepancy between the scale of digitized content and the real number of non-digitized and unpublished works of culture and art raises important questions about who decides which works will be published, will enter the scientific and educational circulation, will expand the digital canon and will serve as a source of inspiration for the general public. Thus, the range of problems in the development of digital collections and digital content aggregators in the field of cultural heritage becomes evident. Digital publishing platforms should be seen as primary sources that reflect the cultural, political and social issues of the modern era and reveal ontological and epistemic gaps in the perception of cultural, ethnic and social affiliation. The analysis of conceptual and methodological approaches to the development of modern digital technologies in the field of cultural heritage, which defined the digital turn for all modern cultural processes, allows us to understand the basic patterns and trends associated with recording, analysis and transmission of cultural heritage at the present stage. Critical analysis of digital infrastructures enables the cultural study of the digital turn in the field of cultural heritage in order to identify the possibilities and limitations of digital technologies in the analysis, publication and dissemination of textual and visual materials, demonstrating works of culture and art.

Looking back, looking forward

The Earth to Tables Legacies Project emerged in 2015, growing out of personal relationships, but also built on a long trajectory of participatory research, multimedia arts production and popular education. We created an intergenerational and intercultural exchange of food activists working for food justice and food sovereignty with the initial goal of producing a feature length documentary. However, the project evolved over five years to culminate in a multimedia educational package with 10 short videos and 11 photo essays, all accompanied by facilitator’s guides. A web series on the pandemic is in production and a forthcoming book is to be published in 2021. The intergenerational production team included Deborah Barndt (co-director and co-editor), Lauren Baker (co-editor) and Alexandra Gelis (co-director). In this ‘report from the field,’ the two co-directors Alexandra and Deborah look back on the process of co-producing the visual materials for the interactive website and look forward to its potential use in university classes, schools, and social and environmental justice organizations. Parts of the essay include our zoom dialogue as we revisit our process over the past five years and try to elucidate our way of working, while reflecting on the challenges of the collaborative production and use of multimedia educational tools. Note that this essay utilizes the same kind of text with hyperlinks that are featured in our website and book. The reader is encouraged to click on the links to learn more about the people and their practices as well as the concept of a non-linear multimedia educational tool and process.

Вооружение и знамена ойратов Джунгарии середины XVIII в. по материалам «Циньдин Хуанъюй Сиюй тучжи»

Introduction. The article deals with “Qinding Huangyu Xiyu tuzhi” (QHXT), the Qing source of the second half of the 18th century, namely its chapter (juan) 41 devoted to the weapons and military symbols of the Oirats of the Dzungarian state (1635–1758). The chapter in question has not been translated into Russian, neither has it been the subject of a special study so far. The aim of the present article is to introduce the evidence of this part of the Qing source on the weapons and banners of the Dzungars. Results. The compilation of the document was initiated by Emperor Qianlong after the territory of the Dzungar state was annexed to the Qing Empire. A group of Qing officials and of European specialists was sent to explore the newly acquired lands. The work in Dzungaria was largely carried out in 1756–1757, while the study of East Turkestan was completed in the spring of 1759. The work on the text itself began the same year to continue for about 23 years (1759–1782). Manchu military leaders who participated in the war in Central Asia took part, among others, in the compilation of the document. The source includes descriptions of Dzungarian weapons for distant and close combat, armor, and two types of Dzungarian banners. Each item is supplied with description and transcription of its original name. In some cases, the material used for their manufacture and typical sizes are indicated. The data of the written source under study compared with authentic samples of Dzungar weapons and pertaining visual materials has shown that the Qing officials described the features of their construction and decoration with high degree of reliability. Some of this information is unique and can be found in no other sources of the period. The data of the source is of special relevance for attributing various types of weaponry cited in Mongolian sources of the 17th–18th cc., as well as in the Mongolian and Oirat epics. The Qing authors made comparisons of the original names of the Dzungar weapons and armor with their construction features, which opens new avenues for elaborate studies of written works and epics of Central Asian populations. Conclusion. The analysis undertaken in the present article has shown that to date QHST is the most valuable and detailed Qing written source on the weapons and banners of the Dzungars of the middle of the 18th century.

Funerary Imagery and Iconography

This chapter looks at Roman funerary imagery across a range of visual materials, including sarcophagi, ash chests, frescoes, mosaic, and stucco relief, with an emphasis on the expression of the existential value of a human life. It considers the diverse range of iconography that speaks to the emotions and perceptions around death as they relate to the ideas of loss, separation, and transformation. The representations cannot be interpreted in light of a single phenomenological, associative, or interpretive reception, but collectively they explore themes of mourning, pain of separation, and hoped-for reunion. Areas of consideration include commemorative portraits, the exploration of permeability and the limen between the worlds of the living and the dead, divine guides, travel through the Underworld, and the potential for images of suffering to comfort through viewer empathy or heal, in the Aristotelian sense, by means of a cathartic purge.

Factors Influencing the Fungal Diversity on Audio–Visual Materials

The biodeterioration of audio–visual materials is a huge problem, as it can cause incalculable losses. To preserve these cultural heritage objects for future generations, it is necessary to determine the main agents of biodeterioration. This study focuses on identifying fungi, both from the air and smears from photographs and cinematographic films that differ in the type of carrier and binder, using high-throughput sequencing approaches. The alpha diversity measures of communities present on all types of carriers were compared, and a significant difference between cellulose acetate and baryta paper was observed. Next, the locality, type of carrier, and audio–visual material seem to affect the structure of fungal communities. Additionally, a link between the occurrence of the most abundant classes and species on audio–visual materials and air contamination in the archives was proven. In both cases, the most abundant classes were Agariomycetes, Dothideomycetes, and Eurotiomycetes, and approximately half of the 50 most abundant species detected on the audio–visual materials and in the air were identical.