Search

Comunicación presentada en el Congreso Internacional Interdisciplinar "La ciudad: imágenes e imaginarios" celebrado en la Facultad de Humanidades, Comunicación y Documentación, Universidad Carlos III de Madrid del 12 al 15 marzo de 2018. On the Turkish cinema screen, Istanbul was not only the centre of film production until the 1990s, but also stood as the central figure in most of the narratives in Turkish cinema. Moreover, it is possible to argue that Istanbul was not only an irreplaceable filmic space where characters representing different identities meet each other, but also a space of encounter where the boundaries of “acceptable” and “possible” in terms of identity categories such as ethnicity, minority, gender, rural or urban were drawn on the cultural screen. On the other hand, since the mid-1990s, among the examples of the new cinema of Turkey, certain films begin to imagine new kinds of encounters with/in İstanbul and new ways of looking at the Other. Drawing upon Distance (Nuri Bilge Ceylan, 2002), Journey to the Sun (Yeşim Ustaoğlu, 1999), My Only Sunshine (Reha Erdem, 2008), Istanbul Tales (Ümit Ünal et al., 2005) and Wrong Rosary (Mahmut Fazıl Coşkun, 2009), this paper aims to question the normative frameworks that are built upon Istanbul images, and to set forth the possibility of a re-viewing that these narratives unfold. Dentro de la filmografía de origen turco, hasta los años 90, Estambul no solo fue el centro de la producción cinematográfica, también se erigió como la principal figura de la mayoría de los argumentos de las películas turcas. Añadiendo, que es posible argumentar que se trata de un lugar irreemplazable dónde personajes que representaban una diversidad de identidades podían interactuar entre ellos. Esto ocurre dentro de un espacio de encuentro donde los límites de lo "aceptable" y lo "posible" entre las diferentes etnias, minorías y géneros rurales o úrbanos se dibujaban en la pantalla. Sin embargo, desde mediados de los 90s, por encima de todos los ejemplos del nuevo cine turco, ciertos films empiezan a imaginar nuevas propuestas dentro de Estambul y su actual perspectiva moderna. Basándonos en películas más actuales (de mediados de los 90 en adelante) como son Distance (Nuri Bilge Ceylan, 2002), Journey to the Sun (Yeşim Ustaoğlu, 1999), My Only Sunshine (Reha Erdem, 2008), Istanbul Tales (Ümit Ünal, 2005) and Wrong Rosary (Mahmut Fazıl Coşkun, 2009), este documento trata de cuestiona las normas que rigen el marco de referencia que se ha construido de la imagen de Estambul y a su vez, exponer una nueva visión para que estas nuevas narraciones se desarrollen.

And so the story goesThey wore the clothesThey said the thingsTo make it seem improbableThe whale of a lieLike they hope it wasDavid Bowie, The Bewlay brothers S’il est des sujets de recherche aptes à révéler la tension entre l’unité de l’homme et la diversité des cultures – tension fondamentale à la dynamique des études anthropologiques – le mensonge en fait certainement partie. Or, comme le disait le père Pire (1910-1959), les tensions sont fécondes précisément parce qu’elles ne nous laisse...

International audience; Dans cet intermezzo, je montre que malgré la profusion des sens du terme hudal, il est des occasions dans lesquelles le mot prend la même signification et se colore des mêmes teintes nocives que le mensonge sous nos latitudes.; In this intermezzzo, I show that despite the various meanings of the Mongolian term hudal, there exist occasions in which the term refers exactly to what we call lying in Western countries. In those situations lying is frowned upon and considered as potentially harmful.

International audience; This intermezzo summarises my own exploration into the field of related disciplines of anthropology regarding the problem of lying (mostly developmental psychology and linguistic). I aim at establishing a common ground in order to understand why people lie. Drawing on studies on the development of language skills, I investigate the matter and find some interesting data that might explain both or ability to lie and our irresistible tendency to let ourselves be deceived.; Cet intermezzo synthétise les résultats d’une déambulation libre et heureuse dans des disciplines sœurs de l’anthropologie comme la psychologie du développement et la linguistique. Je m’attache à établir un fondement commun – et humain – à la menterie. C’est dans l’histoire du développement du langage que je trouve le fondement de cette compétence au mensonge ainsi que notre irrésistible tendance à nous laisser tromper.

1 研究目的 : 1.1 研究の背景 : 2000年代初頭から, グローバルな規模で監視社会(surveillance society)化が指摘されている. その中心的理論は, 個人の身体を規律化する近代型監視(Foucault 1975＝1977)から, 「個人からさらに断片化された身体データ」にもとづいた社会的分類と管理が行われる後期近代型監視への移行(Lyon 2001＝2002)にある. このひとつの象徴が街頭に設置される「監視カメラ」である. ……

Le chamanisme, notion de vulgarisation récente qui tend à recouvrir celle de sorcellerie, est l’objet dans nos sociétés d’une fascination croissante. Le chamane est devenu le héros d’un véritable mythe dont il est intéressant de recueillir les traits caractéristiques. En particulier, les productions audiovisuelles sont autant de variantes du mythe qui, en plus de le reformuler, lui donnent une confirmation objectivante en vertu de la transparence présumée de l’image. Mettant en doute un tel postulat, cet article s’attache à analyser dans plusieurs productions diffusées en France le travail efficace d’un mythe savant. Shamanism, a recently popular idea that tends to overlap with that of sorcery, is an object of growing interest in our society. The shaman has become the hero of an actual myth, whose characteristic traits the article is interested in assembling. In particular, audiovisual productions present variants of this myth which, in addition to reformulating the myth, give to it an objectifying confirmation by virtue of the presumed transparency of the image. Calling this postulate into question, the article seeks to analyse the effective employment of a scholarly myth in several productions broadcast in France.

Il presente articolo propone un’analisi genealogica e comparata di una serie di leggi, rappresentazioni comuni e scritture letterarie sorte nell’ambito dell’emigrazione italiana in Germania (1955-2012) mostrandone l’intreccio e un loro particolare modo di contraddirsi o rafforzarsi a vicenda. Franco Biondi e Gino Chiellino, due autori di origini italiane in lingua tedesca, si avvalgono del pre-testo della legge per la costruzione di una letteratura in una “lingua diversa”, riflettendo sugli spazi polarizzati della migrazione e sulla costruzione ideologica dell’altro come risultato di un complesso di relazioni fra leggi e immaginari collettivi. Questo caso di studio evidenzia come la letteratura possa talvolta confutare la legge, mettendo in campo una critica a delle costellazioni del potere, ma anche come essa possa diventare un campo da dove rilanciare un discorso sui diritti, facendo così emergere degli spazi culturali liminali o la possibilità di comunità più larghe ed inclusive e di soggettività plurali., The proposal of this article is to compare and analyze by means of a genealogical approach a series of laws, common representations and literary writings of the Italian migration in Germany (1955-2012) showing their particular way of strengthening or contradicting each other. Franco Biondi and Gino Chiellino, two Italian authors who chose to write in German, refer to the text of the law as a term to compare or confront with by constructing a literature written in a “different language”. They reflect particularly upon the polarization of the migration space and the ideological construction of the Other as a result of a complex relationship between law and collective imaginary. This case study exemplifies how literature can sometimes confute the law by displaying a critique towards some power constellations but also how it can conceive itself as a field where it is possible to introduce a discourse on the rights. In doing so it makes emerge cultural border spaces as well as broader and more inclusive communities or cross-cultural identities.

La década de los sesenta constituyó el período cumbre de la difusión y adopción del folklore argentino del interior del país en Buenos Aires, principalmente en relación con la música. A este período pertenece un proyecto editorial muy peculiar y de muy corta vida, las Selecciones Folklóricas publicadas en Buenos Aires por editorial Codex entre 1965 y 1966, de las que tan solo aparecieron trece números mensuales. Dirigidas por el estudioso del folklore de más renombre del momento, Augusto R. Cortázar, llevaban por subtítulo “Síntesis amena, documental e ilustrada de la Argentina tradicional y popular” y fueron concebidas como un proyecto de rescate y difusión de contenidos folklóricos, ante el temor de que estos desaparecieran víctimas del progreso. Las Selecciones Folklóricas constituyen un documento único sobre la configuración de la imagen de la cultura de las provincias desde la metrópolis. During the 1960’s in Argentina, the impact of the folklore of the hinterlands in the capital, Buenos, Aires reached its peak, principally regarding music. The Selecciones Folklóricas, a peculiar and short-lived magazine, belong to this period. It was published in Buenos Aires from 1965 to 1966, and only 13 monthly issues appeared. The director was Augusto R. Cortázar, the most prominent scholar on Argentine folklore. The magazine was subtitled “A Readable, Documented and Visual Synthesis of the Traditional and Popular Argentina”, and it was conceived as a way of rescuing and promoting folkloric manifestations, fearing that progress would make them disappear. The Selecciones Folklóricas are an unique example of the way in which the metropolis defined and imagined the culture of the provinces.

During the 1960’s in Argentina, the impact of the folklore of the hinterlands in the capital, Buenos, Aires reached its peak, principally regarding music. The Selecciones Folklóricas, a peculiar and short-lived magazine, belong to this period. It was published in Buenos Aires from 1965 to 1966, and only 13 monthly issues appeared. The director was Augusto R. Cortázar, the most prominent scholar on Argentine folklore. The magazine was subtitled “A Readable, Documented and Visual Synthesis of the Traditional and Popular Argentina”, and it was conceived as a way of rescuing and promoting folkloric manifestations, fearing that progress would make them disappear. The Selecciones Folklóricas are an unique example of the way in which the metropolis defined and imagined the culture of the provinces. La década de los sesenta constituyó el período cumbre de la difusión y adopción del folklore argentino del interior del país en Buenos Aires, principalmente en relación con la música. A este período pertenece un proyecto editorial muy peculiar y de muy corta vida, las Selecciones Folklóricas publicadas en Buenos Aires por editorial Codex entre 1965 y 1966, de las que tan solo aparecieron trece números mensuales. Dirigidas por el estudioso del folklore de más renombre del momento, Augusto R. Cortázar, llevaban por subtítulo “Síntesis amena, documental e ilustrada de la Argentina tradicional y popular” y fueron concebidas como un proyecto de rescate y difusión de contenidos folklóricos, ante el temor de que estos desaparecieran víctimas del progreso. Las Selecciones Folklóricas constituyen un documento único sobre la configuración de la imagen de la cultura de las provincias desde la metrópolis.

The main aim of this work is to identify, analyse and propose to modern readers and scholars, in an imagological perspective, how war propaganda, through trench papers, was able to create a group identity and a war mentality during the Great War.In particular, this article concentrates on the vis-à-vis between Italy and Austria examining both an italian and an austrian trench paper (“La Tradotta” and the “Tiroler Soldaten-Zeitung”).Through the comparison between some of the most interesting pieces of the two, the author tried to make the reader understand how war propaganda worked with language and how important it was in the creation of consent. It emerges a skilful use of persuasion strategies which can be also seen in a more current perspective and can be useful for the study of modern mass media and their capacity to drive people’s way of thinking and behaviour., Between, Vol 1, N° 1 (2011): Frontiere, Confini, Limiti