Visual and Cultural Studies

O periódico A Casa, revista das construções modernas, como chegou a ser chamado, foi fundado no Rio de Janeiro em 1923, encer- rando-se em 1940. A partir da análise crítica da sua visualidade e de seu conteúdo, em quase 20 anos de tiragem, procuramos com- preender como as ideias de modernidade fo- ram apresentadas e negociadas, tendo as ca- sas e seus ambientes como lugares privilegia- dos de discussão. Ancorados pelos estudos de cultura visual, intertextualidade e história da arte, foram avaliados discursos visuais e textuais ofertados ao leitor como construto- res de sentido, percebendo as variadas facetas de representação da modernidade e os modos de conquistá-la na decoração do lar.The journal A Casa (The House), magazine of modern buildings, how it came to be called, was founded in Rio de Janeiro in 1923, ending in 1940. Based on the critical analysis of its visuality and its contents, in almost 20 years of circulation, we seek to understand how modern ideas were presented and negotiated, with the houses and their environment as privileged spaces of discussion. Based on studies of visual culture, intertextuality and history of art, we appreciate visual and textual discourses that were offered to the reader as constructors of meaning, realizing the various facets of representation of modernity and the ways of conquering it in the decoration of the home.

GORA is a product of the new televisual production regime in
Turkey. GORA represents the coming together of two products of
television in Turkey: the technical excellence of the television infrastructure and the new, popular television talent. The year 1999 was a turning point for cinema in Turkey as digital post-production facilities came in line with their American counterparts in terms of quality.

Derived from Maithil practices and festivals and assumed to protect the household, the Madhubani Paintings spread since the 1960s in India and abroad. Transferred on paper in order to be commercialized, they undergo important changes. I will focus on the reception history of Mithila paintings through two Western mediators, who each declared themselves to be the discoverers of these paintings: one is British, William Archer (1907- 1979); the other French, Yves Véquaud (1938-2000). They bear witness to an international reception which underlines a particular aspect of the worldwide connected and shared histories of Bihar.
After being appointed officer of the Indian Civil Service in Bihar, Archer publishes in 1949 the article “Maithil Painting”. This is a first moment in the reception history of these paintings. His writings show a universal aesthetic, based on psychoanalyze, surrealism and an organic vision of art.
The hippie “counter-culture” renews enchanted orientalist and romantic visions of a South Asian universe presumed to be spiritual, pantheist and sensorial. Followed on the heels of the sixties, indophily appears a particularly favourable, moment - or kairos - in the reception of Maithil works. It parallels the internationalization of its actors: Erika Moser Schmitt in Germany, Tokio Hasegawa in Japan, Raymond and Naomi Owens as well as David Szanton in United States and Yves Véquaud in France. The writings of the latter mingled an aptitude to capture the “air du temps” with a real interest in India and adhered to the values of the counter-culture. He is today mostly known for his essays on Mithila paintings. The Mithila Art is published in 1976, then translated in 1977 into English and German. In 1974, he co-directed the documentary Mithila. During a period of about ten years, he exhibited his collection of Mithila paintings in France and abroad (in particular in Paris, Musée de l’Homme, Musée des arts Décoratifs...).
In 1970, Véquaud discovered the Mithila paintings in New-Delhi thanks to the museologist Ratna Fabri. He remained in India for two years, went to Madhubani and met some village painters. In his writings, the Maithil women painters are presented as charismatic figures, between holiness and genius. In 1973, Sita Devi “appears to him as a saint”, withdrawn from the world, “in a inner-peace and trust refuge which nothing could disturb". From the author’s standpoint, the talent of these painters, neo-tantric muses presumed to create only when in a yogic state, is compared with that of an exorcist. This vision of the prophetic artist, fluctuating between the christic figure of the saviour and the holy icon, also bears witness to the transformation of the status of the artist since the 19th Century in the West and to the appearance of a ”vocational regime” (Nathalie Heinich). These charismatic figures call to mind the appearance of a conception of the artist as the author of innovative works, and living a singular life. Like Braque and Rouault, the Maithil women painters would so be transformed into figures of legend, likely to guide the work of their followers in their efforts to become an artist. These prophetic artists would become a modern incarnation of holiness. In 1968, Yves Véquaud describes Mozart and Van Gogh as saints, whose example overwhelms. From his standpoint, the prophetic Maithil artists are devoid of the overwhelming heroization that affects Western artists. They would correspond to his promotion of creative spontaneity and a present freed from the burden of the past, in quest of eternal moments.
In Yves Véquaud’s conception, the women painters swing between an ideal of devout humility and religious immortality. In 1973, Sita Devi is described as the one who “knew all the honours” and yet remained “humble and loving”. From the westernized standpoint of Véquaud, the artistic success of Maithil painters may be explained by their desire for singularity and timelessness in their results. This involves both the personalization of means, namely the invention of new paths, as well as the depersonalization of the ends of the success, namely the creation of objects crystallizing values recognized beyond the author. This contingency was traditionally reserved for saints and heroes.
His admiration for these artists assumed an almost devotional character. Following the example of the canonization of Western art, Yves Véquaud established a relationship between the Maithil pictorial phenomenon and a religious phenomenon, the neo-tantrism. His behaviour was almost that of a believer. He set up his exhibitions with a nearly sacerdotal and proselytizing diligence. His hermeneutics of the works is almost theological. The conditions in which the paintings were produced has been neglected. The art of Mithila is described as a (wedding) liturgy ; the paintbrush becomes the tool of prayer. The biographies of the painters appear as a “golden legend”. Nevertheless, these exegeses underline the effective ritual dimension of these paintings. Maithil art became the sphere onto which he projected the expectations traditionally assumed by the religion. It is no longer the instrument, but the object of the sacralization. Sanctified with the admiration of Yves Véquaud, the painters were not “acknowledged by the ecclesiastical authorities”: it concords with the informal religiosity of the author. He thus put forward an essentialized vision of Mithila paintings. Perhaps it represented also an attempt to sublimate his own artistic failures by projecting onto fantasized painters an imaginary solution to a melancholy situation: giving up novelistic publications, whether due to lack of inspiration or to editorial refusals. His neo-tantric vision of Mithila paintings resulted from the kairos of the hippie phase previously evoked.
Yet in 1994 India Served and Observed, the memoirs posthumously published by William Archer and his spouse, Mildred, put forward a fanciful account about the discovery of Mithila paintings, marked with a Flower Power sensitivity : it stays in-between the construction of a storytelling and an aesthetic emotion, which is a posteriori inflamed. To seize the proclaimed strong and valued discourses of the moment on South-Asia is equivalent to a re-enchantment of Archer’s writings. This work builds itself in resonance with Véquaud’s one. Thus in this new narrative about the discovery of Mithila paintings, the meeting with the paintings and the painters is described as simultaneously exalted and distanced, but sublimated by aesthetic emotion. A narrative play takes shape wavering between desire and repression. According to their words, "in these murals we somehow electrically met".
I will analyzed in what extent these idealized works and their women heroized figures could be situated in the social context of the “counter-culture” and the hippie movement, foreseeing the globalization of Mithila paintings in the 1990s : since then some maithil artists free themselves from categories of gender, caste and local belonging. The appearance of painters men in Mithila, motivated in particular by the prospect of profits, polls gender categories associated to a practice for a long time exclusively feminine. Simultaneously some researchers deconstruct this essentialized tradition. They expound Archer’s and Vequaud's interpretations as an hegemonic discourse constituted from masculine canons.

How do we socially negotiate what is seen or not seen in an institution? This dissertation posits the idea that educational institutions reproduce social exclusions and inequalities both through verbal exchanges and through practices of looking; it aims to apply some theoretical frameworks from the field of visual studies to the study of discourse and subjectivity in the context of higher education. The first part of this dissertation summarizes some of the general currents within the field of sociology of education on the study of the “hidden curriculum,” and, drawing on Foucault’s understanding of disciplinary power, proposes a theoretical approach based in three axes of analysis – i.e., the technical capacities, the systems of communication, and the relationships of power. Following this approach, the second part of this dissertation presents a case study at the University of Guelph. Autoethnographic methods, visual methodologies and qualitative interviews are combined to collect data that are examined according to the defined axes of analysis. Different pedagogical approaches that draw from art education and critical theory are offered to address the non-verbal processes identified within each axis of analysis: “invisible pedagogies” deal with the discursive aspects of the pedagogical settings; “pedagogies of touch” address the role of affect and the body in the reproduction of discourse; and “performative pedagogies” are used to address power relations and to allow for multiple subject-positions in the student-teacher relationship. All of these approaches draw on concepts currently being used in curriculum studies, the aim of this dissertation being to contribute to the development of critical perspectives in relation to the role of the visual in educational research.

C’è almeno un aspetto della generale prassi antagonista esercitata dal movimento autonomo italiano degli anni settanta che, ancora oggi, meriterebbe un’attenzione critica svincolata dal ricorrente discorso sui cosiddetti anni di piombo, ed è quello relativo alla pratica-teorica maodadaista, sistematizzata nel 1976 dal collettivo bolognese A/traverso. Tale emergenza
culturale riconfigurò i tradizionali modi della comunicazione politica e produsse effetti, oggi relativamente ignorati, anche nella teoria dell’arte. Nelle seguenti pagine, la tematizzazione di alcune forme di autorappresentazione riconducibili al paradigma maodadaista sarà condotta e accompagnata dall’analisi dei concetti nel titolo anticipati, dei loro incontri realizzati e degli sviluppi presenti e possibili.

Cultural examinations focusing on the spheres
of the Fine Arts and popular media forms –
within sociology, gender studies and cultural
studies – have primarily focused on how gender
roles affect the ability to fully participate in all
aspects of culture, or how media representations
have promoted essentialist and heteronormative
narratives and visual imagery. Much of the scholarship
thus far has looked at culture and gender
from a traditional binary perspective (high/low,
male/female, production/reception). However,
the recent emergence of the interdisciplinary
field of queer studies (within the last decade)
and the study of post-internet participatory media
culture(s) offer new conceptual and empirical
terrain to explore gender and sexuality. Radical
feminist and queer media forms challenge us to
reconsider the creation, distribution and reception
of culture, and present opportunities to resist, and
in some cases pervert, dominant narratives, policies
and ways of seeing.

Aborda el tema de la mujer en el grabado ukiyo-e, cómo evoluciona su imagen y la tipificación del ideal de belleza.
It addresses the theme of women in ukiyo-e printmaking, how their image evolves and the typification of the ideal of beauty.

En este artículo, así como Mary Poppins  que retira de su valija de viaje una infinidad de objetos, comparto mis vivencias, experiencias, imágenes, repertorios, archivos y cuestionamientos que vengo teniendo en los últimos años, para reflejar sobre la enseñanza de arte.?Qué enseñanza? ?Qué arte? ?Qué enseñanza de arte es esa en la contemporaneidad? Para tanto expongo mis reflexiones en la forma como se estuviese pensando alto o hablando sobre los desafios o dificultades presentados a nosostros, profesores de arte , teniendo a la vista las rápidas transformaciones socioculturales que vivimos en las últimas décadas y las prácticas culturales creadas en las mediaciones con las infinitas producciones y artefactos culturales.

במאמר זה אבחן את טבעו של השיח המקוון, קרי השיח המתבצע באינטרנט: דואר אלקטרוני, צ'טים, פורומים, בלוגים, רשתות חברתיות וכד'. כמו כל תופעה בעולם הנחקרת בכלים פילוסופיים, ניתן לחקור את השיח המקוון באמצעות תאוריות וכיווני הגות מגוונים. בכוונתי להצטמצם במאמר זה ולנתח את השיח המקוון באמצעות כלי החשיבה והניתוח הפוסט-סטרוקטורליסטיים לאור כתיבה אקדמית עכשווית זו ובעיקר לאור ההטרמה הרבה של דרידה ולאקאן לשיח האינטרנטי. ברצוני  לאפיין היבט מסוים ומהפכני של השיח המקוון באמצעות ההגות הפוסט-סטרוקטורליסטית ולהצביע על היותה של השפה המקוונת שפה נטולת הכרעה, כלומר, שפה בה אין לשיח הדבור עליונות על פני השיח הכתוב, ומכאן נובע ההיבט המהפכני שלה. כפי שציינתי קשה להציג את ההיבט המסוים הזה של השיח המקוון בלא להשתמש בכלים, במתודות החשיבה ובז'רגון הפוסט-סטרוקטורליסטי מול השיח הנפוץ בקרב חוקרי שפה רבים החוקרים את שפת האינטרנט, שיח הממשיך לאחוז במידה רבה בהיגיון של המטפיזיקה המערבית בדבר עליונותה של השפה הדבורה על הכתובה כמייצגת דובר בעל נוכחות וסמכות.

La civilisation du journal ne voit pas seulement apparaître une circulation accrue des idées, une extension du lectorat, un mode d’information tissé de romanesque et de nouveaux rythmes liés à la quotidienneté. Elle instaure aussi un rapport spécifique à l’objet en papier. À l’heure où triomphe la chose imprimée, la culture médiatique est éminemment matérielle : manipulations, appropriations, circulations invitent à considérer les usages concrets du livre, du journal, de la brochure et de l’affiche, depuis les modes d’étalage à la vente jusqu’aux modalités de collection du livre et de conservation du roman-feuilleton, en passant par le démembrement du tract et le recyclage de l’affiche. Cet article examine les objets en papier produits par les éditeurs de pittoresques et de littérature panoramique dans les années 1830-1860 en France.

The paper defines the role of airlines’ names in nation branding. The author describes the types of identity (territorial, political, ethnic) in airlines’ names and the main types of onyms communicating these identities.
Key words: country’s identity, airlines’ name, nation branding, brand, onym.

English edition of the book on Emilio Tadini. The book revolves around the figure of the Italian artist and intellectual Emilio Tadini. A prolific painter and writer, Tadin still deserves to receive the broader recognition as a leading figure in Italian postwar and contemporary art and culture. The monograph especially focuses on a moment in Tadini's career, in which specific interests in reassessing the tenets of painting and investigating aspects of visuality through photography and painting emerged. In this respect, Tadini proves to be an outstanding figure in the expanded field of re-mediation, which was distinctive of the visual arts between the 1960s and 1970s.

Der österreichische Photochemiker und -historiker Josef Maria Eder (1855-1944) verkörpert in mancher Hinsicht die Summe der photographischen Kultur des 19. Jahrhunderts. Er wird in "Photographie als Wissenschaft" mit eigenen programmatischen Texten sowie Beiträgen seiner Zeitgenossen vorgestellt, die seine Position als Schulgründer, sein Verhältnis zur Idee der Photographie als Kunst und sein Konzept der Geschichte der Photographie beleuchten. Im Zentrum steht dabei die nach Eders Entwurf 1888 eröffnete "K. k. Lehr- und Versuchsanstalt für Photographie und Reproductionsverfahren", die ein äußerst breit gefächertes Spektrum von Aus- und Weiterbildungsmöglichkeiten für Hochschulstudenten wie Lehrlinge, Amateure und Professoren ebenso wie für Angestellte photographischer und druckgraphischer Betriebe bieten sollte. Als weit über Österreich hinaus beachtete Institution von enzyklopädischer Perspektive war sie die Plattform, von der aus Eder Wien um 1900 als Zentrum der wissenschaftlichen Photographie und anderer moderner Bildtechnologien etablierte.

Desde fines del siglo XIX la concentración fabril y ferroviaria en La Boca hicieron que se congregara un intenso movimiento sindical socialista
y anarquista. La actividad portuaria condensaba la mayoría de los aspectos de la vida barrial y allí se desarrollaron militancias gremiales y políticas, que lo convirtieron en un ámbito fundamental de la experiencia
obrera a principios del siglo xx. En este ambiente se destacó Santiago Stagnaro, quien desde su juventud trabajó en los astilleros y se identificó
con la causa proletaria.

Au cours de la seconde moitié du XIXe siècle, l'ophtalmologie se développe comme une spécialité médicale à part entière. Des chaires universitaires, des hôpitaux et des cliniques, des associations professionnelles et une presse spécialisée apparaissent dans plusieurs pays européens ainsi qu'aux États-Unis. Une nouvelle catégorie de praticiens maîtrisant les connaissances de leur temps sur l'appareil visuel commence à réclamer le monopole sur toutes les questions concernant les yeux et la vision. Ceci est le point de départ d'un conflit avec d'autres professionnels, notamment les opticiens-lunetiers, artisans spécialisés depuis des siècles dans l'art de fabriquer les verres optiques.
Cette contribution propose d’analyser les caractéristiques et les enjeux du conflit de compétences entre ophtalmologistes et opticiens qui s’est produit au courant des dernières décennies du XIXe siècle. Elle construit une étude de cas autour des ophtalmologistes et des opticiens-lunetiers français. Le texte est organisé en trois parties : la première présente les différentes sujets parmi lesquels les questions concernant la santé de la vue étaient partagées avant l’autonomisation de l’ophtalmologie comme spécialité médicale et esquisse les caractéristiques du processus d’émergence de l’ophtalmologie au XIXe siècle ; la deuxième analyse les relations entre ophtalmologistes et opticiens en France au cours des dernières décennies du XIXe siècle ; la dernière examine l’essor d’une véritable « soif du regard » chez ces deux groupes de professionnels au prisme du développement du marché des lunettes dans la France fin-de-siècle.

Az Instagram és a Snapchat, illetve az emotikonok, GIF-ek és matricák küldésén alapuló csevegés korában érdemes újragondolni azokat a vélekedéseket, amelyek a képi kommunikáció egyetemességét, nyelvi akadályokat legyőző, nemzeteken átívelő voltát hirdetik. A képek nyelvéhez a szakirodalom a legtöbb esetben a művészet irányából közelít, napjaink vizuális kultúrájának halmazán belül viszont egyre nő azon képek száma, melyek létrehozása mögött sem művészi szándék, sem tudatos kompozícióépítés, sem szándékolt konnotációba helyezés nem munkál. Bizonyos tünetek azt mutatják, hogy a remélt egyetemesség helyett a képek nyelvét is a „bábeli zűrzavar” állapota jellemzi. A tanulmány azt igyekszik alátámasztani, hogy egy vizuális kultúra felemelkedése nem lehetséges a verbális kultúra elnyomása árán, csak azzal párhuzamosan.

Étude approfondie de l’iconographie textile et vestimentaire du portrait de François Ier peint par Jean Clouet afin de proposer une relecture d’une herméneutique plus complexe que ne l’ont laissé penser les recherches fondamentales de Cécile Scailliérez. Riche de découvertes inédites quant à l’habillement du portrait, c’est à la fois sa fonction, son commanditaire et sa datation qui ont pu être précisés.

Shifting from representationally-oriented analysis of images to analysis of practices—the production, circulation and consumption of tourists’ images, and from photos created by tourists to photos staged, produced and displayed by the industry, this article offers a qualitative, ethnographic study of tourism’s visual culture.
Through observations conducted on a cruise ship, the author offers up-close depiction of photo-taking routines, and of the public display of multiple images of vacationing tourists. The article critically accounts for tourists’ desire to be photographed and portrayed by the industry in terms of visual surveillance (Foucault) under contemporary neoliberal visual regime. It is further argued that public displays of tourists’ images create, through collective  ediation/mediatization, a commercially assembled touristic collective or public.

Los mestres de capoeira califican el modo de relación que se establece durante el jogo como un diálogo corporal en donde cada movimiento de interacción entre los contendientes corresponde a una pregunta y/o respuesta. Este artículo viene a discernir sobre cómo, por debajo de esta evidencia física, la capoeira pone en marcha una forma de comunicación rítmica que adquiere un significado subyacente cargado de visualidad. Con ello, no se pretende dar una visión cierta de lo que la capoeira es sino hacer algunas sugestiones de lo que puede llegar a ser. Para alcanzar este propósito se va efectuar una aproximación a la kinestesía y gnoseología en el jogo de capoeira. Así, a través de un análisis del gesto técnico corporal, se propone entender como la interacción comunicativa que surge en el espacio de la roda sobrepasa la semiosis y el significado lingüístico para presentarse como un síntoma latente del pensamiento simbólico. Desde esta perspectiva se deduce que entre los participantes de la roda se establece una suerte de actividad hermenéutica que consiste en la modelación intersubjetiva de un mundo común. Y, por medio de esta acción conjunta, se revela la emergencia de un modo de comprensión y consciencia hologramática. Finalmente se plantea comprender la roda como un espacio de redención inmunológica en el que, a través de la transcendencia política del gesto, se pone en marcha una ética que desborda las marcas de hostilidad dominadora inscritas en su vector histórico.

Today Hinduism, Christianity, and Islam have the largest populations among world religions. These three worldviews have made monumental contributions in shaping the visual arts of human civilization. This paper serves to provide a brief historical summary and theological exegesis of the visual culture present in these three traditions, as well as draw comparative conclusions. One will see the overlapping similarities and differences in worldview, delineating significant implications for the varying limitations in subject matter and cultural adaptability. The study of interfaith aesthetics is important, not only in light of the proliferation of pluralistic artistic imagery made ubiquitous in the visual age, but also to provide holistic balance to interfaith dialogue, which has tended to focus on theology of sacred texts and not recognizing how visual culture has a profound effect on shaping one’s understanding of the earth, humanity, and the Divine.

As a yet small academic field, historical video game studies are in a crucial and interesting moment of development. The most recent contributions, looking at the re-validation of historical themed video games as proper historical narratives, are opening a door for new analysis on the discourses behind these portrayals of the past, and the role of historiography as a direct influence. In this context, the questions about the protagonists of such histories, as well as the perspective implied on these portrayals, appear as relevant for the future of video games and academia. This research is an attempt to answer such questions and bring some further considerations on the relation between the representation of the past and the characteristics of the medium. Applying comparative and critical discourse analysis, and focusing on the representation of non-Western societies, this research analyses the presence of Eurocentrism in two historical themed video games: Age of Empires II HD Edition and Total War: Rome II. The application of discursive devises within textual, visual, and game play elements are studied to clarify the approach and perspective of these games to the past, as well as the implications behind their portrayal of diverse societies and cultures. Linking back to postcolonial theory, discourse analysis, and video game studies, further considerations are made over multicultural representations, the conceptualization of history, and the capabilities of the medium to further explore the past in meaningful and complex ways. The expectation with this research is to open a path for future applications of the methodologies on video game studies, and deeper explorations of Eurocentrism and on the medium, as a most required subject to confront on the analysis of historiography and popular culture.

MA Thesis. MA in Comparative Literature and Cultural Studies. University of Limerick.

The Ethic Implications of Ewa Borzęcka’s an Audio-visual Historical Narrative as Presented in her Film “ARIZONA”

Summary

Many historians are convinced that historical film narration can not be treated in the similar way as academic historical narration. They think that each attempt of perceiving a film as historical narration should be condemned. What is more, according to them treating a film as one of many ways of thinking about the past, that seems to be an equivalent of the aca-demic ways of representing the past, is impossible. Their point of view is that a film suffers from discursive weakness. A film as a medium conveys a piece of information that is too poor. A film does not show a critical apparatus. It is not equipped with notes. In the histori-ans’ opinion, history should deal with historical problems directly connected with a question: what really happened? History should explain historical processes and historical facts. Fre-quently a film is described, here, as fictional storytelling.
According to the author of the article, a film can be perceived as one of the ways of thinking about the past and representing it. In this case a movie is an equivalent of many other ways of dealing with the past, which are different from an academic written history. A film is constituted by the audiovisual dimension of culture opposite to written history consti-tuted by the cultural context of Gutenberg Galaxy. From this point of view evaluating a film in terms of written history seems to be a mistake due to categories developed for historio-graphy are not useful for film narration. Therefore, the author would like to suggest consi-dering film as historiography, and propose to work out new devices for film analysis that would exempt a film from rules demanding for written history.
In this context “Arizona” directed by Ewa Borzęcka is considered as an audiovisual historical narration. The film is a story about former workers who had worked for a State Farm (PGR) and who became unemployed after their farm had been closed down. The direc-tor of the film shows people who are dirty, vulgar, drunk, and poorly educated. Borzęcka of-fers us a glance at the village and people’s problems through the prism of a bottle of cheap wine. There the measure of the time seems to be hours of deliveries of wine to the nearby shop. The people seem to be reconciled with their fate.
Ewa Borzęcka’s film represents a piece of cultural reality. It is an audiovisual record of the individual experience of this kind of historical situation. It is an attempt of taming a piece of cultural reality, which seems to be convergent with a social standard of experiencing these sorts of situations. But from other point of view, the film is perceived as unethical, un-true, and unreal. Marcel Łoziński, for example, has stated that this film has shown the people as insects. According to him it is unacceptable to show a human being different from an an-thropological model of man as noble. The accusations leveled against “Arizona” are very se-rious and require reconsideration.
Therefore, the author of this essay is interested in ethical aspects of representing his-torical cultural reality in this film. He asks about ethical limits of representing a human being in the film. What is more important, the author inquires if the moral attitude of a historian or a filmmaker can exist beyond an ethical code. He is concerned with a question if designing of new areas of moral experience is possible outside a normative ethics.
Considering the sentence of Richard Rorty who has written that, describing of diverse, concrete cases of suffering and humiliation is the most important contribution of intellectuals to the moral progress, we are able to evaluate reproach in the direction of the film as unim-portant. Ewa Borzęcka seems to be a participant of the moral progress. In this case we deal with an ethical and esthetical attitude that seems to be a prism for visualizing the specific his-torical situation.

This text reviews and discusses the retrospective exhibition of the late Nathan Lyons (1930-2016) at the George Eastman House (January-June 2019). The show was originally conceived with Nathan Lyons as an exhibition of his then current work in color. Following his death, it became a half retrospective with the issues that such a change in purpose may raise for the curators. This review describes and analyzes the resulting choices from the point of view of one who had known Nathan Lyons (a former assistant director of the George Eastman House, the founder of Visual Studies Workshop and a co-founder of the Society for Photographic Education) personally for nearly thirty years.

The early ethnological works of Alfred Métraux are analysed bearing in mind his first fieldwork trip to the Chiriguano, in 1929. The paper discusses personal, academic and professional features of Métraux’s ethnological experience, the nature of the 1929 trip and his concrete relationships with the Chiriguano groups and individuals. Next, we analyse his ideas on material culture as a privileged means of understanding the synthesis of Andean, Chaco and Amazonian cultural influences. Finally, the dilemmas and limitations of his analytical approach regarding Créole cultural influence and social and cultural change are discussed. [Key words: Alfred Métraux, Chané, Chiriguano, material culture, change.]
Se analiza la etnología temprana de Alfred Métraux a la luz de su primer viaje de campo a los chiriguanos, en 1929. Se discute el perfil personal, académico y profesional de Métraux, las peculiaridades de su trabajo de campo en 1929 y sus relaciones concretas con los indígenas chiriguanos en el terreno. Se examinan luego sus ideas sobre la cultura material como campo experimental privilegiado para rastrear procesos de síntesis de influencias culturales andinas, chaqueñas y amazónicas, así también sus dilemas y límites a la hora de interpretar el factor de la influencia criolla y el proceso de cambio social y cultural en un sentido amplio. [Palabras clave: Alfred Métraux, Chané, Chiriguano, cultura material, cambio.]

מרבית המחקרים המנתחים את זיכרון הנאציזם בחברות הגרמניות שקמו לאחר מלחמת העולם השנייה טוענים שגרמנים רבים הדגישו את סבלם שלהם במלחמה כאסטרטגיה שנועדה להסתיר את השותפות הפסיבית או האקטיבית של האוכלוסייה הגרמנית לרדיפת היהודים. מאמר זה טוען שייצוגי הסבל או חוסר האונים של "גרמנים רגילים" לא תמיד שימשו כדרך לחמוק מאחריות ולהשכיח את השואה. בחינה מקרוב של סרט מזרח גרמני וסרט מערב גרמני המתארים סדרת ניסיונות כושלים להציל יהודים, מצביעה על מסר מורכב יותר המשתמש במרכיבים אפולוגטיים על מנת לבקר את האוכלוסייה הגרמנית על אדישותה לגורל היהודים ולעמת את הגרמנים עם השואה. ההשוואה בין הסרטים והביקורות עליהם גם מצביעה על ההבדלים בין מזרח ומערב גרמניה בשאלת הלקח שיש
ללמוד ממקרים אלו של הצלה כושלת.

Partimos del análisis del diálogo con la imagen que se genera a través la interactividad que los usuarios de Facebook crean mediante sus comentarios. Entendido por Bajtín como una forma primordial del mensaje, y visto como una estructura interactiva, en torno a la imagen y el texto en esta plataforma. Revisando así, el desarrollo de texto e imagen en el ordenador y de la web 1.0 a la 2.0 en internet, partiendo de que el contexto en el que se presenta una imagen puede ser condicionada por los textos que se refieren a ella como ejemplifica John Berger en “Modos de ver”. El resultado de esta interactividad puede llegar a ser una mezcla de texto e imagen, como los memes o los emoticonos. El recorrido expositivo partirá de la relación texto e imagen en el entorno digital desde sus inicios elementales de caracteres básicos al uso de emoticonos u otras imágenes, produciendo sentidos e interpretaciones diversas y que permiten la polisemia.

This research in about the analysis of the dialogue with the image, which is generated through the interactivity that the users of Facebook create through their comments. Understood by Bakhtin as a primordial form of the message, and seen as an interactive structure, around the image and text on this platform. Thus, the development of text and image in the computer and the web 1.0 to 2.0 on the internet, starting from the context in which an image is presented can be conditioned by the texts that refer to it as exemplified by John Berger in "Views". The result of this interactivity can be a mixture of text and image, such as memes or emoticons. The exhibition will start from the relationship between text and image in the digital environment from the elementary beginnings of basic characters to the use of emoticons or other images, producing different senses and interpretations that allow for polysemy.

While art historians discussed the Book of Kells in its relation to the Insular Style that spanned the British Isles, the nationalization of the manuscript throughout the late nineteenth and early twentieth century caused a shift in the collective memory of the Irish public. This paper examines how nationalistic causes turned to the ‘Golden Ages’ of Ireland’s medieval past as proof that the nation deserved the ability to self-govern. Through the work of scholars like Margaret Stokes and the efforts of the Irish Arts and Crafts Movement, the imagery of the Book of Kells became the ancient visual evidence of the nationalistic struggle for Irish independence. Through this process of nationalization, the Insular Style of the Book of Kells became known as a distinctly Irish or Celtic Style and has remained as such in the collective memory of the Irish public. Continuously used as a marker for defining an Irish national style, the Book of Kells remains not only “a must-see on the itinerary of all visitors to Dublin”, but “Ireland’s greatest cultural treasure”.

Der Beitrag setzt sich mit der Repräsentation von maskulinen Körpern in Musikvideos auseinander. Unter Rekurs auf Michel Foucaults Theorie der Macht wird analysiert, wie Leitbilder der Männlichkeit performativ produziert werden und als sprachlose Narrationsmedien in einen transformatorischen respektive stereotypen Repräsentationsdiskurs treten. Anhand von Popmusikern wie 50 Cent und Marilyn Manson, Rammstein, James Blunt, Ricky Martin und Enrique Iglesias werden differente Kulturräume fokussiert und unterschiedliche Entwürfe von Maskulinität herausgearbeitet.

Marcus S. Kleiner (2012), »Musikkörper. Zur medialen Inszenierung von Körperbildern in Musikvideos«, in: Ivo Ritzer, Marcus Stiglegger (Hrsg.), Global Bodies. Mediale Repräsentationen des Körpers, Berlin, S. 183-210.

Worin besteht eine visuelle Kultur der Migration? Ömer Alkin liefert hierfür die erste
umfassende Geschichte und Analyse des ›deutsch-türkischen Kinos‹. Mit seinem Konzept der »Polyzentrierung« macht er die populären Yeşilçam-Filme aus der Türkei in der Historie des Genres sichtbar und wendet sich so gegen eurozentrische und epistemologisch vereinseitigende Modelle. Die postkolonialtheoretisch informierte Auseinandersetzung mit der Historie mündet so in medientheoretische Reflexionen: Ästhetische und kulturtheoretische Analysen zeigen, als was Migration in den Filmkulturen überhaupt sichtbar wird. Dabei werden die populären Filme zu »denkenden Medien«, die zu grundlegenden Erkenntnissen für die Bestimmung einer visuellen Kultur der Migration führen.

Le fotografie della Resistenza italiana accumulate nel corso dei decenni sono migliaia: le hanno raccolte anzitutto gli ex partigiani, nel tentativo di tenere vivo, anche con le immagini, il ricordo della guerra di Liberazione.
Il libro parla di questi scatti e affronta il problema della memoria visuale della Resistenza indagandone i meccanismi di costruzione, la fisionomia e i caratteri di diffusione.
Nel novero delle raccolte fotografiche dedicate alla guerra e alla Resistenza in Italia, i tre album del comandante partigiano Ettore Serafino costituiscono in questo senso una fonte straordinaria: accompagnati da una ricca documentazione personale e creati unendo le riprese eseguite da lui stesso a quelle effettuate da altri autori, essi sono in grado di testimoniare il lungo processo di formazione
della memoria visuale di quella importante stagione.
La prima parte del libro si sofferma sulla produzione degli scatti ripercorrendo le vicende che anticipano la composizione dei tre volumi. La seconda si concentra sul loro montaggio e ordinamento
da parte di Serafino nell’immediato dopoguerra, e rivolge particolare attenzione alle diverse funzioni e modalità di impiego delle fotografie nel corso del tempo, in bilico tra fruizione privata e uso pubblico.

Reverence, Resistance and Politics of Seeing the Indian National Flag
Cambridge University Press, 2016.
ISBN 978-1-107-11887-4 Hardback. Length: 268+xxvii
www.cambridge.org Information on this title: www.cambridge.org/9781107118874

http://www.amazon.in/Reverence-Resistance-Politics-Seeing-National/dp/1107118875/ref=sr_1_1?s=books&ie=UTF8&qid=1452503383&sr=1-1&keywords=Sadan+Jha

http://www.cambridge.org/us/academic/subjects/history/south-asian-history/reverence-resistance-and-politics-seeing-indian-national-flag?format=HB
About the Book
This book seeks to understand the politics that make the tricolour flag possibly the most revered among symbols, icons and markers associated with nation and nationalism in twentieth-century India. While intertwined narratives of reverence and resistance offer a unique perspective on linkages between the sacred and the political, the emphasis on the flag as a visual symbol aims to question certain dominant assumptions about visuality. Anchored on Mahatma Gandhi’s ‘believing eye’, this study reveals specificities of visual experience in the South Asian milieu. This account begins with a survey of the pre-colonial period, focuses on colonial lives of the flag and moves ahead to explain contemporary dynamics of seeing the flag in India. Delineating such a wide canvas, perspectives from macro history are matched with dense investment on certain key events, debates and elements which have shaped the shades of this history. The Flag Satyagraha of Jubblepore and Nagpur in 1922–23, the adoption of Congress Flag in 1931, the resolution for the future flag in the Constituent Assembly of India in 1947, history of the colour saffron, codes governing the flag as well as the legal cases are few such examples explored in depth in this book.

The tricolour in this history is a symbol of popular aspiration for freedom against colonial rule, a symbol of sovereignty as well as a site where claims of nationhood and citizenship are made, resisted and negotiated. At one level, the dynamics of claim making and resistance appears semiotic, and at another level, it becomes a fight for the participation, supremacy and control over the symbolic arena which is essentially public and visual in nature. The multilayered field is fraught with conflict between the colonial state and nationalist position, between dominant and dominated positions within nationalist domain, between state defined rituals of ‘flag code’ and popular practices and between dominant caste and dalit sarpanchs in post-colonial India, to name a few.

About the author

Sadan Jha is Associate Professor at the Centre for Social Studies, Surat. His research interests include history of visuality, history of symbols and icons like spinning wheel and the Bharat Mata, history of colours, and the contemporary urban experiences of Surat.

Table of Contents

List of Figures vii
Preface xi
Acknowledgements xxv
Introduction 1
1. Rise of the Flag 26
2. Flag on the Hut: Totem and a Political Symbol 52
3. The Indian National Flag as a Site of Daily Plebiscite 91
4. Shades of History: A Case of Saffron Colour 111
5. Visualizing an Ideal Political Order 145
6. A Post-Colonial Symbol 178
7. Gendered Symbol, Communal Politics 207
Epilogue: The Flag as a Sacred Political Symbol 239
Bibliography 247
Index 265

Advance Praise

'Sadan Jha's book is a pioneering and illuminating history of the Indian national flag, the most important icon of the nation. Jha's critical eye helps the reader see not only the contested nature of this symbol but also some important - and usually neglected - visual aspects of the Indian nationalist movement, thus widening our understanding of the scope of the political in the South Asian context. This book should interest all students of modern South Asian history.' Dipesh Chakrabarty, University of Chicago

Advance praise: 'A brilliant multidisciplinary analysis of the development of the Indian national flag and the way in which it came to be seen, appropriated and sacralised by different groups. A must-read for anyone interested in the Indian nationalist movement.' Bhikhu Parekh, University of Westminster