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The creation of the Norman kingdom of Sicily was complemented by the development of a unique court milieu encompassing elements from the Latin West, Byzantium, and the Islamic world. The churches of Palermo, in particular, became the focus of a sophisticated project of experimentation and combination of different artistic traditions, to convey an artificial image of equilibrium among élites and communities of three different denominations: Latin, Greek-Byzantine, and Arabo-Christian. Through the creation and subversion of architectural boundaries, the promotion of certain forms of visual hybridity, the transgression of artistic media, and the articulation of new liminal spaces, the Norman rulers transformed their churches and cathedrals into an ideal stage for performing their liturgy of kingship, and conveying the message of a multi-faceted religious system unified and harmonized only through the king, as supreme head of the Church and vicar of Christ.

El presente trabajo reflexiona sobre el papel de la imagen de consumo durante la formación inicial de educadoras. Rescatamos los resultados de una serie de prácticas de creación visual desarrolladas por el alumnado, y elaboradas a partir de la representación de lo corpóreo en contextos de comunicación publicitaria. Analizamos estas producciones desde el marco teórico de los nuevos materialismos, llevando a cabo una lectura difractiva de sus producciones visuales. Nos valemos de conceptos como el de “desgarro” para leer y seguir ampliando los sentidos sobre la subjetividad de las futuras educadoras, cuestionando el contexto, lo conceptual y la hiperrealidad de la imagen de consumo. Se muestran resultados de producciones visuales que dialogan con dichas imágenes, potenciando así la agencia de las futuras educadoras como productoras de imaginarios críticos con los discursos publicitarios. Entendemos necesario continuar reflexionando durante la formación inicial sobre los regímenes políticos de lo visual, su influencia en la construcción de significados, así como en la propia tarea pedagógica. Favorecer espacios de pensamiento en torno a la imagen que permitan cuestionar aquellas producciones visuales vinculadas al cuerpo, alejándonos así de la posición de consumidores de cultura visual para pasar a convertirnos en productores que representan aquellas realidades aún sin imágenes.

During the pandemic, arts disciplines had to seek new paths for creation to continue visual skills development outside the studio. ICTs offer a natural tool set for individual and collaborative work and sharing online. 3D design and the development of digital creativity can represent new directions for Hungarian art education and its major discipline called Visual Culture. With this tool, visual art education can proceed on the bumpy road to teach the visual language of the 21st century. Certainly, technological focus is not the only option for progress in art education. Nevertheless, if we look for possible directions for renewal, we cannot ignore the use of software products that support visual creativity,and are becoming more and more easily available, simpler and free of charge. This paper focuses on the pedagogical possibilities of 3D printing. We present an experimental program with secondary school students aged 16 years, that started and ended face-to-face and was partly realised online. As the project manifests a creative synergy of Visual Culture and Information Technology disciplines that may be of interest for art and ICT educators as well.

Around the mid-nineteenth century, European literature abounded with book illustrations and the use of a pictorial style. Depending on the context and perspective, this literary fashion was associated with a threatening democratization of literature or perceived as a chance to reach new audiences. This article investigates whether the striking interactions between text and image in the internationally popular novella Hoe men schilder wordt (1843) by the Flemish author Hendrik Conscience can be regarded as a factor in its nineteenth-century popularity, and as a starting point for Conscience’s current image as an author of ‘popular’ literature, aiming at broad upcoming audiences.

Pseudo-Dionysius And Christian Visual Culture

Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.

As representações de adultos/as sobre o que é considerado feminino e masculino reforçam estereótipos de gênero e, com isso, brinquedos, jogos e demais artefatos da cultura visual tendem a caracterizar meninos e meninas de formas diferentes. Como as identidades de gênero de meninas e meninos são representadas nos jogos infantis de ciência? As meninas aparecem nas embalagens desses jogos? Quando aparecem, como são apresentadas? Para responder a essas questões, neste artigo, de cunho documental e analítico, temos como objetivo problematizar as representações de ciência e feminilidade nas embalagens de jogos infantis. Para tanto, investigamos 38 embalagens de jogos infantis de ciência comercializados em 2017. Durante a análise, dividimos esse montante de embalagens em cinco grupos, os quais foram investigados sob fundamentos dos Estudos de Gênero e Estudos da Cultura Visual. Avaliamos que as embalagens de jogos científicos analisadas sugerem um “não protagonismo” feminino nos jogos de ciências. Constatamos, nesses artefatos, a ausência de endereçadores visuais que convidem as meninas a brincarem/fazerem ciência − ao menos que as atividades envolvam os cuidados com o corpo, os afazeres domésticos e a atuação como auxiliares.

This essay focuses on the 16th -century Bolognese naturalist and collector Ulisse Aldrovandi (1522-1605) and his enormous image collection of naturalia. Do these images present a specifically Bolognese form of visual natural science, and was his visual format of truthfulness new at the time? Did Local visual culture leave clear marks on Aldrovandi's image collection? On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

Over the last century, monsoons in Goa have become more intense, with an increase of over 68% in rainfall (Goa State Biodiversity Board, 2019, p. 42). Such effects of climate change are devastating to architectural heritage, especially those structures built using materials like laterite, a weaker stone, vulnerable to rapid deterioration when it is left exposed. This is the precise problem concerning the Basilica of Bom Jesus, a sixteenth century building that is still in use. The monument which houses the relics of St. Francis Xavier is one of the most important cultural icons of Goa, as evidenced by its ongoing use and also its iconic representation in visual culture. While research may be available regarding the effects of climate change and architecture in the tropics generally, little pertains to the specificities of Indo-Portuguese architecture and especially heritage buildings. My article seeks to make an intervention in this regard, focusing on the effects of climate change with regard to the conservation of Bom Jesus. Considering the adverse effects of climate change on built heritage, architectural conservation in Goa cannot be merely about preserving cosmetic appearances, but rather must involve safeguarding monuments against major structural damage.

An exhaustive analysis of the very last words drafted by one of the most powerful noblewomen of the fifteenth century, Duchess Aldonza de Mendoza (d. 1435), reveals that her project to transform the Hieronymite monastery of Lupiana into a pantheon might have been connected to the birth of a child outside her marriage, more precisely, to a son who had remained hidden until the moment of Aldonza’s death. The aim of this study is to offer a new reading of the Duchess’s mausoleum, a pantheon planned to showcase her lineage by focusing exclusively on the female line. Further, this paper rediscovers two panels of the lost main altarpiece of the monastery of Lupiana commissioned by Aldonza de Mendoza and proposes an allegorical portrait of the Duchess represented as the wife of Pontius Pilate. Aldonza’s project reveals itself as crucial for understanding the self-fashioning mechanisms employed by late medieval women, as well as the ways in which visual culture was used in the shaping of female memorial programmes.

Dentre tantas fotos minhas, há uma de 1998, que aciona memórias de minha infância e da maneira como me constitui masculino. Quase duas décadas depois desse registro fotográfico, decidi recuperar essa foto e transformar seus significados a partir da arte. Com este artigo, tenho como objetivo apresentar reflexões sobre meus processos de criação artística, que atuam na (trans) formação de significados de afetos às masculinidades. Elaborei uma pesquisa com metodologia de Pesquisa em Arte e com respaldo teórico nos Estudos Culturais da Cultura Visual e das Masculinidades. Ao todo, comentei sobre seis produções artísticas de minha autoria. Argumentei como a condição de professor-pesquisador-artista pode ser propulsora para a (trans) formação de memórias.

In the autumn of 2019, Brown University hosted a major exhibition by the world renowned Haitian, Miami-based artist Edouard Duval-Carrie (b. 1954), curated by Brown’s Professor of Humanities and Af...

The article examines the graphic work of Luis Fernando Rojas referring to the War of the Pacific and his contribution to the formation of the visual culture of the conflict. Through an analysis of the visual and aesthetic resources deployed in his works, the paper analyzes the creation of a heroic imaginary around the war and its ideological relation with Chilean nationalism. The visual narrative of the war provided by the artist's illustrations was systematically propagated in the public opinion of the time, reaching a great social diffusion and popularity.

LLas imágenes de tipos populares se erigieron como repertorios angulares en la conformación de los imaginarios de nación en América Latina, de ahí la importancia de su estudio para comprender la cultura visual decimonónica de territorios como Chile y Perú. Estas representaciones se desarrollaron fundamentalmente a partir de medios manuales (pintura y estampa), y en ellas se debaten cuestiones de gusto, asociadas a una estética de lo pintoresco, y se evidencian las tensiones y convergencias de varias funciones y demandas de la imagen modélica. Sin embargo, durante la segunda parte del siglo XIX, esta tradición se enfrentará al advenimiento del medio fotográfico. Las repercusiones y transformaciones que esto implicó serán discutidas en el presente artículo, considerando el componente documental e informativo que la fotografía habría potenciado en un repertorio constituido particularmente, aunque no exclusivamente, en una estética de lo pintoresco. De esta manera, el ensayo propone una lectura historiográfica que analiza la constitución de esta tradición mediante casos particulares referidos al contexto chileno y peruano, para luego pensar su reformulación tras la incursión del aparato fotográfico.

The Bessarion chapel in the church of Santi Apostoli represents a new chapter in the study of the Roman Quattrocento. Its frescoes, painted by Antoniazzo Romano between 1464 and 1467, are a fundamental example of the Roman artistic taste in the early Renaissance. This essay examines unexplored aspects surrounding the origin of the chapel by understanding how Romano obtained this commission and how much he used visual solutions borrowed from the past. In addition, this investigation sets out to reconsider the artistic influence of the Bessarion commission, focusing on the paintings which have recently been discovered in the Orsini church of Saint Michael the Archangel in Formello (Italy). The questions concerning the Bessarion chapel raised in this study will lead to a more exhaustive understanding of this commission and will shed light on the complexity of the early Renaissance in Rome, where tradition and innovation masterfully coexist.

EnglishThe donations made by women to the monasteries of the Holy Mountain constitute an important aspect of the medieval history of this monastic community. Starting with the Blessed Virgin Mary, who, according to tradition, visited Mount Athos, consecrating the peninsula by her presence, the women, in particular with their orders of objects of visual culture, continued to contribute to the sacralization of this location. Traditions, documents and artefacts testify that many women, either with their families or independently, endowed the monasteries of the Holy Mountain. The female gifts mentioned in the charters and also the gifts kept today in the treasures of the monasteries of Mount Athos are important evidence of worship and works of art displaying high standards of workmanship of their time which left an important mark on the history of visual culture. francaisLes dons faits par les femmes aux monasteres de la Sainte Montagne constituent un aspect important de l'histoire medievale de cette communaute monastique. A commencer par la Sainte Vierge Marie, qui, selon la tradition, a visite le mont Athos, consacrant la peninsule par sa presence, les femmes, notamment avec leurs commandes d'objets de culture visuelle, ont continue a contribuer a la sacralisation de ce lieu. Les traditions, les documents et les artefacts temoignent que de nombreuses femmes, soit avec leur famille, soit independamment, ont dote les monasteres de la Sainte Montagne. Les dons feminins mentionnes dans les chartes et aussi les cadeaux conserves aujourd'hui dans les tresors des monasteres du mont Athos sont des preuves importantes du culte et des œuvres d'art affichant des normes elevees de fabrication de leur temps qui ont laisse une marque importante sur l'histoire de la culture visuelle.

Part one - Early history, trade and contact: Lower Niger bronze industries and the archaeology of the Niger Delta from middlemen to missionaries bulletproof - exploring the warrior ethos in Ijo culture. Part two - Environment and cultural confluence: from river horses to dancing sharks - canoes and fish in Ijo art and ritual the Isoko as a delta people celebrating water spirits - influence, confluence and difference in Ijebu-Yoruba and Delta masquerades Part three - Arts and identity: everyone to his quarter - ethnic interaction, emulation and change in Itsekiri visual culture tricks of the trade - a study of Ikakibite (cloth of the tortoise) among the Eastern Ijo the arts of the Ogoni fitting farewells - the fine art of Kalabari funerals. Conclusion - reflections - looking back on our journey. Appendix: crosscurrents and confluences - linguistic clues to cultural development.

ResumenEsta investigación expone la estructura de un patrón de objetificación respecto al cuerpo femenino que responde a políticas capitalistas utilizando a la cultura visual e historia del arte como medio desde los siglos XVI al XXI. A partir de la recolección y análisis de los trabajos de artistas, directores de arte, fotógrafos, directores de cine y diseñadores de videojuegos se creó un archivo visual en formato digital. El archivo presenta las políticas estéticas dentro del marco geográfico de América y Europa que aún comercian con raza, género, etnia y clase. Se plantea además el problema de la difusión de este tipo de imágenes dentro del mercado global que continúa utilizando una estética que apela a la violencia de género. AbstractThis research exposes the structure of an objectification pattern regarding the female body which responds to capitalist policies using visual culture and art history as a medium from the 16th to the 21st centuries. From the collection and analysis of the works from artists, art directors, photographers, film directors and video game designers, a visual archive was created in digital format. The archive presents the aesthetic politics within the geographic frame of America and Europe which still trade with race, gender, ethnicity and class. The problem of the dissemination of this type of images within the global market is also mentioned because gender violence is still used as aesthetics.

Japanese visual aesthetics as represented in traditional arts such as flower arranging, calligraphy and tea ceremony have long been celebrated or even emulated as exemplary expressions of beauty. The Japanese term utsukushii (beautiful) can be used to describe a wide variety of pleasing aspects of daily life, ranging from the human form to nature and even the gustatory experience. This article outlines traditional notions of beauty in the Japanese language, sketching forward to more contemporary expressions of visual culture that cluster around the term kawaii. This word is often translated as “cute” in English, but we maintain that kawaii extends well beyond its denotative sense to encompass a more complex spectrum of meanings. For example, it can be used to describe objects and practices which have both sentimental charm as well as dark humour. We argue that the kawaii aesthetic has been successful because it serves important emotional and social functions. Finally, the differences between the terms utsukushii and kawaii are gendered and class based, with kawaii often providing a democratic expression of resistance to gendered processes of aging, ideas of class and taste, and attractiveness in Japan’s postmodern society. This essay begins with an overview of the semantic meanings of the concepts of beauty and cuteness in Japanese, followed by a discussion focused on the historical antecedents of the Japanese notion of cuteness. The third section shifts to an analysis of the expansion of the kawaii concept in post-war society and its socio-cultural functions. The essay closes with exploration of a few of the hybrid offshoots derived from kawaii, demonstrating that concepts of beauty in Japan are constantly changing and reacting to social and historical trends.

Heritage is represented in everything that is transmitted with customs, traditions, etiquette and arts and transmitted from one generation to the next. The Heritage film is a sub-genre of the documentary film. It carries all the elements of cultural action and artistic work in addition to the scientific act that characterizes it, as it is considered an academic film document that benefits specialists working in the field. The field of cinema and heritage, that visual culture carried by the image devolves into a thought based on information sourced visually and audio and relying on documents, texts and interviews. This helps in the socialization and historiography of an era or a period of it, and transmit it objectively without distortion, and that the information contained in the film is real and away from all false personalities and places, and neutral and objective monitoring based on reliable images and documents, as well as live and objective testimonies, To crystallize trends that differentiate based on the angles of its treatment of reality, the methodologies and methods employed for this, and the technical style and reliance on what is real.The importance of the heritage film is embodied in preserving the heritage through the strengthening of identity, as it allows the transmission of facts based on realistic evidence as an expression of the living reality. This identity must be consolidated in the present generation and transmitted objectively and aesthetically to the second generation, especially since Egypt and the Arab world are characterized by a popular and civilized heritage, as well as the diversity of cultural heritage in each country.The Heritage film, which directly refers to proving identity and belonging and emphasizing the universality of Arab heritage by highlighting its various aspects related to human life and societies, is focused on the revival and preservation of heritage as it expresses identity in addition to the role it plays in entertainment, education, guidance, promotion, and consolidation Dissemination of knowledge, values, and social traditions from one generation to the next.The valuation of heritage requires its preservation, the transfer of information about it on the one hand, its dissemination and the participation of society and the public, in its evaluation and history, on the other hand. We highlight the reason for preservation in the documentary heritage film through cultural events.Therefore, the researcher held the Arab Heritage Film Festival - which was held in its first session from December 5 to December 20, 2020, virtually.Where the festival faced challenges, and on the selection of films that participated in the competition, which aims to highlight the contents of the Arab identity in the sense of films that define and document social practices of customs, traditions, values, cultural heritage, and the cultural identity of each community at the Arab level, and through which heritage is transmitted from one generation to the next. As well as presenting a realistic picture of societies with their history, heritage, civilization, landmarks and others.

This article introduces the Renaissance “Iron Gate” erected in 1503–4 in the Khan’s Palace in Bahçesaray, Crimea. It proposes a new interpretation of this famous portal in the residence of the Crimean khans, taking into consideration the broader cultural context of early modernity. The research focuses on the visual appearance of the Iron Gate and the content of its unique inscription. Comparison with other portals and a tomb from the Balkans, on one hand, and with titulature in inscriptions, coins, and diplomatic documents from the Turco-Mongol-Islamic environment, on the other, furnishes enough data to situate the portal within the historical-cultural context of the khanate in the northern Black Sea region. Through an analysis of ways in which envoys were received in the Crimean capital, and an assessment of the architectural environment of the palace, new dimensions are opened into understanding Khan Mengli Geray I’s self-representation as ruler during this historically significant period.

George Eliot (1819–80) received markedly less national and international acknowledgment during the bicentenary of her birth in 2019 than Charles Dickens did for his bicentenary in 2012. In seeking to understand why, this article conducts a comparative evaluation of Eliot and Dickens in textual and visual media to examine how and where enduring authorial celebrity is constructed. Using Google Books Ngrams, the presence of Dickens and Eliot in textual culture from the 1800s to 2000 is assessed. Eliot is found to keep pace with and/or supersede Dickens in this mass digital repository, a fact that sits at odds with her secondary position in twenty-first-century popular culture. The online catalog of the British Film Institute Reuben Library discloses that adaptations of Eliot's work in film and TV are vastly outnumbered by those of Dickens. We argue that this disparity between Eliot's textual and visual legacies can be traced to extrinsic factors relating to the idea of celebrity and the posthumous management of her reputation, combined with the robust afterlife of nineteenth-century insults about her appearance. At the same time, the intrinsic qualities of her works delimit their easy remediation into mass visual culture. Despite this, our methods of distant reading Eliot's vibrant afterlife in mass textual repositories open up new avenues for exploring her legacy beyond the bicentenary.

Através de uma montagem dialética e simbólica de diferentes imagens dândis, este artigo reflete sobre as contribuições que a teoria de Jacques Rancière oferece para compreender a legibilidade política das estéticas dândis que tem atravessado fronteiras temporais e geográficas, inclusive reaparecendo na cultura visual contemporânea. Simultaneamente a isso, o artigo também apresenta as contribuições que o próprio dandismo oferece para compreender a constituição mútua e indissociável do estético e do político, sintetizada sobretudo no que Rancière nomeia como partilha do sensível, mais especificamente ainda no que diz respeito à relação pendular entre polícia e política –, essas duas partilhas que comporiam o comum fracionado.

Tracing its manifestation across three phases in her biography — marriage, separation and funeral — this article considers the image of Maria Clementina Sobieska (1702–35). Examining the objects an...

Histories of visual culture continue to argue that slaveholders envisioned themselves as planter-cavaliers, set apart from modern values and identities. In light of recent scholarship demonstrating...

Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for artists to use social networking sites as avenues for art criticism. The use of social networking sites is common among artists and regarded as valuable in their field. The respondents are supportive in the development of an online group for art criticism that could fortify their creativity and ultimately their artworks. Hence, the findings of the interview suggest that a social networking site like ARTIQUE would be a progressive platform for artists’ professional development.

Responses to the formation of home guards in the Civil War North used a humorous visual vocabulary that played off the gender expectations of prewar periodical, literary, and artistic culture. Humorists and artists made fun of the men who chose to stay at home by linking them with the feminine space of the parlor. Using a painting by Thomas Hicks titled The Home Guard, along with other war-era images of home guards, this article argues that the satire lampooning home guards as weak and cowardly was dependent on codes of gender that stressed masculine action. These images used the home front as the de facto location of gendered struggles during war, responding to perceptions that men tied to domestic spaces were feminized. The home guard and other more clearly satirical images of men who stayed at home suggest that a generation of men had been raised to be pampered by feminine protectors. Hicks mocks certain men who chose to stay at home and not fight during the war; his work exposes gendered assumptions that reveal postwar concerns about traditional masculinity. Together, these works suggest a shift in understandings of gender and the fear of a feminized culture in the aftermath of the war.

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

O artigo propõe uma reflexão sobre os impactos da conjuntura internacional da agricultura sojicultura nos sentidos atribuídos ao espaço urbano de Santa Rosa, noroeste do Rio Grande do Sul, no início da década de 1980, por ocasião do confisco da soja aplicado pelo ministro Delfim Neto. O período ficou marcado por uma crise financeira que afetou muitos dos agricultores da região, os quais reagiram de variados modos, dentre os quais destaca-se o uso de espaços urbanos para sua manifestação pública. A fim de entender como esta apropriação espacial ocorreu, elencaram-se como fonte algumas fotografias de manifestações e protestos realizados em Santa Rosa, publicados por dois periódicos dacidade, o jornal Noroeste e o jornal O Grande Santa Rosa. As noções de fotografia pública e espaço público visual são centrais na análise. A metodologia utilizada está relacionada ao campo da cultura visual e parte do proposto por Ana Maria Mauad para o estudo de acontecimentos. Defende-se uma espacialização da análise histórica, por ser o espaço composto pela produção material, significados e práticas que são formadas – e ao mesmo tempo formadoras – por relações de (re)produção social. Observou-se que, ao ocuparem os espaços urbanos de Santa Rosa, os agricultores demarcaram não somente a apropriação da sua territorialidade, mas do acesso às políticas econômicas mundiais por meio da reivindicação do direito à venda de sua produção. O acontecimento, assim, tornou-se o locusprivilegiado da análise, não por se contrapor à escala mundial, mas por evidenciar seus efeitos e a sua constituição a partir do vivido.

The Worcestershire poet William Shenstone was not only an innovative landscape gardener, creating a spectacular, intermedially conceived and much visited ferme ornee, The Leasowes, he was also the ...

In the twenty-first century, Robert Burns has a notable presence in cyberspace. One such example is the online advertisements for the growing expanse and diversity of Burns Night events around the ...

The research reported on here elaborated on the effects that images displayed on the walls have in schools as a variable in evaluating the educational quality. Mixed methods were used to analyse the images displayed on the walls of 27 classrooms to determine their provenance and authorship. The results show quantitative, qualitative and aesthetical values of the school visual culture, thanks to the numerous photographic series (resembling in graphs) which are a testimony of each classroom. After the typologies of the displayed images at the schools had been documented, it was demonstrated that images mostly come from the school products industry and from faculty members.i The kind of analysis and the conclusions that were obtained could be considered in other contexts of schools with cultural diversity. Four alternatives are proposed in order to improve schools’ visual culture diversity: 1) consensus between the entire educative community – both adults and children selecting which images should adorn the classroom walls; 2) an increasing of external images, but generated by students and teachers about their personal experiences to increase the sense of belonging in the classroom; 3) a greater presence of internal images created by specialised agents, that enrich the learning processes, diversity, iconography and style of the images; 4) the emphasis of elementary teachers’ visual education to integrate images pedagogically. Keywords: educational quality; images; mixed methods; school; visual culture

The article highlights the productivity of the visual metaphor in the context of the use of information and communication technologies, the implementation of which changes the format of the educational process. An analysis of visual metaphors in the paradigm of the philosophy of education, which are used to describe various models of worldview, cognition and reflection on the meaning of concepts and knowledge that become the subject of study is performed. Visualization is defined as the creation of images for the transmission and expression of symbols, which provides a more complete understanding of the text, data, information, complementing the scientific explanation or logical reasoning. Given that metaphors are used in everyday perception as a means of visualization to "see" abstract concepts, the concept of "conceptual metaphor" is analyzed, which in cognitive-linguistic research associates thinking with vision and explains complex phenomena that determine the course of thought. The idea of engaging visual metaphors in the process of applying information and communication technologies and learning tools, which by means of computer graphic presentation help deeper understanding of the text, educational material, and its application is postulated. It is proved that visual metaphors are a means of raising the level of the concept, direct thought in a certain direction, and with the use of information and communication technologies, at the same time more fully inform, present, create opportunities for reflection on the meanings of specific knowledge. It is noted that visual metaphors arise both in images and in language, appealing to sight, vision, light, visual perception, and visual experience. A number of key visual metaphors are analyzed – “visual contemplation”, “blindness”, “mirrors”, “light” and their application in the practice of learning in the humanities. The authors see promising further research on the use of information and communication technologies for the formation of all components of visual culture.

Musical numbers, as viral modes of entertainment, influential forms of visual culture and catalysts of popular discourse are dense with multivariate aesthetic performers, and are interlaced to punctuate the melodramatic narrative texture in advancement of the plot and characterization in musical films. Performing identity through dancing bodies has been the subject of several film, music, culture, performance and communication research endeavours yet has rarely been explored from multimodal discourse analysis perspectives. To examine the ‘resilient identities’ underlying performances, the article adopts an eclectic approach informed by the Bakhtinian chronotope with regard to two numbers drawn from a recent American musical film in order to pinpoint: (a) the full repertoire of multimodal resources of narrative agency and identity performance; (b) the emotional experiences evoked by the musical numbers; and (c) the social practices that constitute, maintain and resist social realities and identities. The unconventional approach to the analysis of the musical numbers is what makes the current research project stand out among interdisciplinary studies of musical discourse.

Este artículo propone una mirada renovada sobre la Exposición Internacional de Barcelona 1929 a través de su cultura material y visual, los pabellones comerciales, sus atracciones y la configuración de su espacio para analizar cómo el diseño del evento se interrelaciona con varias dinámicas inscritas en la cultura urbana y a la experiencia de modernidad. Veremos así la centralidad que cobran las experiencias sensitivas, cómo el régimen visual del evento se relaciona con la circulación de saberes en el siglo XIX o que vínculos establece el consumo con la creación de nuevos espacios urbanos, nuevas formas de entretenimiento y estilos modernos como el Art Déco. El objetivo será visualizar el alcance del evento de 1929 en la concreción de culturas urbanas asociadas a la irrupción de la sociedad de consumo que se intuyeron en 1888. This article looks anew at The 1929 Barcelona International Exposition, focusing on its material and visual culture, its commercial pavilions, its attractions, and its configuration of space in order to demonstrate how the design of this event connects with the dynamics of urban culture and the experience of modernity. Through it, we will see the centrality of sensory experience, the visual regime of the fair as related to the circulation of knowledge in the 19th century, and the participation of consumerism in the creation of new urban spaces, new forms of entertainment, and modern styles such as Art Deco. The objective will be to demonstrate the extent to which the 1929 event made urban culture and the emergence of consumer society more concrete, as first suggested in the Exposition of 1888.

O artigo discute a leitura de produções audiovisuais em contextos educativos a partir dosreferenciais da semiótica discursiva, da cultura visual e do ensino da arte, enfocando ossentidos criados pelas estratégias de montagem ao instaurarem o discurso audiovisual.O trabalho analisa os ritmos visual e sonoro e como eles se articulam para constituir oefeito audiovisual. O corpus de análise é a videoarte Anima2, uma produção com imagenssobrepostas e sons que não homologam o que está sendo mostrado. Para realizar a leiturado objeto, foi organizado um grupo focal com estudantes de um curso de formação deprofessores, a fim de conhecer os significados que eles atribuem a essa produção.As conclusões apresentam aportes para a leitura de narrativas audiovisuais na educação. The article discusses the reading of audiovisual productions in educational contexts basedon the references of discursive semiotics, visual culture and art education, focusing on themeanings created by editing strategies when establishing audiovisual discourse. The workanalyzes the visual and sound rhythms and how they are articulated to constitute theaudiovisual effect. The corpus of analysis is the video art Anima2, a production withsuperimposed images and sounds that do not represent what is being shown. To carry outthe reading of the object, a focus group was organized with students from a teachertraining course, in order to know the meanings they attribute to this production.The conclusions present contributions to the reading of audiovisual narratives ineducation. El artículo discute la lectura de producciones audiovisuales en contextos educativos apartir de los referenciales de la semiótica discursiva, de la cultura visual y de la enseñanzadel arte, dirigiendo la atención hacia los sentidos creados por las estrategias de montaje alinstaurar el discurso audiovisual. El trabajo analiza los ritmos visual y sonoro y cómo ellosse articulan para establecer el efecto audiovisual. El objeto de análisis es el videoarteAnima2, una producción con imágenes superpuestas y sonoridades que no representanaquello que se muestra en la pantalla. Para la lectura del objeto, se organizó un grupo focalcon estudiantes universitarios de un curso de formación de profesores, con el objetivo deconocer los significados que ellos atribuyen a esa producción. Las conclusiones del estudiopresentan aportes para la lectura de narrativas audiovisuales en la educación.

Magazines represent a site for cultural contestation, reconciliation, and alienation in visual culture. Adopting social semiotics and cultural discourse perspectives, this study examines the visual...

This research focuses on the ideology behind the death rites of a Roman emperor. Here I analyze the inventive rhetorical features concerning the subject as visual culture, loci, descriptive formulas and cultural codes. It refers in particular to literature that concerns the death of the Roman emperor, which is analyzed from the point of view of rhetoric and iconography. So I find a fiction or a dubious “reality”, through introducing a witness who confirms the veracity of deification.

A pesar de que el experimentalismo fotográfico en Latinoamérica, y en particular en Argentina, ha sido constantemente desplazado de las líneas de investigación histórica y sociocultural sobre las artes y la cultura visual, en los últimos años este fenómeno estético ha adquirido mayor relevancia en las investigaciones sobre el medio. En este artículo propongo analizar los discursos y las prácticas sobre la experimentación de las imágenes técnicas en la Argentina de los setenta. Durante esta década se llevaron adelante exposiciones del medio que pusieron en evidencia el interés de diversos grupos fotográficos por explorar las posibilidades materiales de la imagen fotográfica en clave de un anticonvencionalismo estético. Para llevar adelante este trabajo, se indagará primero en los debates sobre el experimentalismo fotográfico, entendido desde diversos ángulos como un modo de comprensión específica del medio, para luego determinar los vínculos entre estas concepciones de la fotografía y los casos del Manifiesto del Grupo Fotográfico Experimental, las tomas directas del Grupo Beta presentadas en Lirolay y los fotogramas expuestos en Experiencias visuales con medios fotográficos en la Galería Odín. Finalmente, se examinará el lugar de la técnica en tanto sustrato material que posibilitó la puesta en juego de las experimentaciones fotográficas en este contexto.

Do historians look at Luther and the Lutheran Reformation differently in the aftermath of the Lutherjahr of 2017, and its frenzy of academic and public activity? As recent publications on Luther demonstrate – notably Lyndal Roper's 2016 biography Martin Luther: renegade and prophet – there is a still a great deal to say about Luther, and how his friendships, passions, prejudices and physical experiences shaped him. But while Luther was the monumental public figure of 2017, some of the most important work coinciding with the anniversary addressed instead Lutheranism as a movement, and the nature of religious identities in Luther's aftermath. It also demonstrated and furthered the impact of the visual and material turn in history and in Reformation studies. Building upon decades of scholarship on Lutheran visual images, recent Reformation scholarship has demonstrated in increasing depth how religious identity can and should be read through both material and visual culture. The three publications examined here – a monograph by Bridget Heal, a website by Brian Cummings, Ceri Law, Bronwyn Wallace and Alexandra Walsham, and the exhibition catalogue Luther! 95 treasures – 95 people – contribute to the material, sensory turn in Reformation and early modern scholarship, and in the latter two cases also reveal the impact of this upon public engagement with Reformation histories.

We are in the midst of a global turn to the drone. Responding to the ‘unmanning’ of contemporary warfare, interdisciplinary scholarship has interrogated the human operators and non-human actors underpinning the drone, and their wide-ranging ethical, geopolitical, and legal implications. A key facet of extant drone debates surrounds drone vision – both as it operationally visualizes and is fetishized. While comparatively nascent, scholars have begun to explore how drones are instead visualized across particular media. In this article I identify two lacuna within extant drone scholarship: first a lack of attentiveness to small military drones, which while comprising the majority of global military arsenals remain comparatively absent from scholarly analysis; and second, a need to attend to a greater diversity of visual representations of the drone. In response, this article explores promotional visualizations of small military drones as they are ethnographically-encountered at a key site through which their usage is compelled and their functioning enabled – the defence tradeshow. In so doing, I identify three central frames through which the drone is repeatedly represented therein. I argue that these frames both engage and employ visual conventions associated with ‘nature’ and the ‘natural’ in order to ‘naturalize’ and normalize the drone in as-yet unaccounted ways. Approaching the drone through the current, yet under-examined, visual milieu of the defence environments in which it is promoted, the article contributes to both interdisciplinary drone scholarship, and literatures exploring the visual cultures of militarism more widely.