Journal articles: 'Imagologija'

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Dukić, Davor. "Prilog rekonstrukciji nacionalnoga imaginarija." Croatica et Slavica Iadertina 16, no. 2 (March 1, 2021): 525–28. http://dx.doi.org/10.15291/csi.3266.

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Litričin-Dunić, Dragana, and Aleksandra Tomić. "Imagology in teaching Serbian language and literature to foreign students." Inovacije u nastavi 31, no. 1 (2018): 103–12. http://dx.doi.org/10.5937/inovacije1801103l.

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Wiśniewska, Lidia. "KANTOWSKIE WYBORY A DWUMITYCZNOŚĆ, CZYLI O PUNKCIE WYJŚCIA IMAGOLOGA." Porównania 22, no. 1 (March 12, 2019): 9–25. http://dx.doi.org/10.14746/p.2018.22.18162.

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Artykuł składa się z czterech części. Pierwsza, Imagologia i Kant, przypomina o koncepcjach wiążącego imagologię z filozofią Immanuela Kanta Manfreda Bellera i Joepa Leerssena, który przypisuje imagologowi antyesencjalizm opozycyjny do esencjalizmu samych images. Druga część, Images a hermeneutyka, czyli Ricoeurowskie dodawanie/rozszerzanie zmierzające do Pełni przedstawia ten sposób poznawczego postępowania, który dodaje do siebie przeciwstawne koncepcje filozoficzne (Nietzscheańsko-Freudowską i Kantowską), opierając się na odwołaniach do dwu mitów – Boga i Natury (reprezentujących arché i telos). Trzecia część, Images a konstrukcje. Kantowskie odejmowanie/zawężanie, czyli przejście w stronę Formy pokazuje, w jaki sposób Kant odrzuca wpisujące się w mit Natury, jego zdaniem patologiczne, aspekty rzeczywistości (dialektyka, przypadek, empiria itd.) lub człowieka (sen, emocje, spontaniczność), by uzasadnić i uznać za powszechnie obowiązujące te, które opierają się na micie Boga (i które istnienia tego mitu się też domagają). Czwarta część jest zbiorem pytań i odpowiedzi, dotyczących tego, dlaczego dwa wspomniane mity oraz ich relacje można uznać za podstawę kultury i porównywania jej dziedzin, jednocześnie zaś otwarte pozostawia pytanie o to, w jakich relacjach pozostają one na polu imagologii.

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Gago, Dora Maria Nunes. "Pelas veredas da Literatura Comparada: olhares de Ferreira de Castro sobre o Brasil, à luz da imagologia." Aletria: Revista de Estudos de Literatura 20, no. 1 (April 30, 2010): 35–48. http://dx.doi.org/10.17851/2317-2096.20.1.35-48.

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Resumo: Este artigo visa analisar, seguindo os procedimentos metodológicos da imagologia, a imagem do Brasil desenhada por Ferreira de Castro nas obras: Emigrantes, A selva e O instinto supremo. Deste modo, tentaremos compreender de que maneira a experiência de emigração vivida pelo autor é ficcionalizada, desenhando uma imagem do Brasil que se afasta do estereótipo e se enraiza numa “mitologia pessoal”.Palavras-chave: Literatura Comparada; imagologia; Brasil; Ferreira de Castro.Resumé: Ce texte prétend analyser, en suivant les principes de l’imagologie, l’image du Brésil esquissée par Ferreira de Castro dans les oeuvres Emigrants, Forêt vierge et l’Instinct suprême. Nous essayerons, ainsi, de comprendre comment l’expérience de l’émigration vécue par l’écrivain a été fictionnalisée, em dessinant une image du Brésil que s’éloigne du stéréotype et s’enracine dans une mythologie personnelle.Mots-clés: Littérature Comparée; imagologie; Brésil; Ferreira de Castro.

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Dos Santos, Barbara. "L’image de la femme dans A cabeça de Salomé d’Ana Paula Tavares." Letras de Hoje 54, no. 4 (December 31, 2019): 483. http://dx.doi.org/10.15448/1984-7726.2019.4.33315.

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A travers une analyse qui s’appuie sur l’imagologie, nous nous interrogerons sur les différentes représentations de la femme dans l’oeuvre d’Ana Paula Tavares, sur leur rapport à la société angolaise et sur la façon dont l’oeuvre s’insère dans le paradigme postcolonial.Mots-clés: Imagologie. Femme. Angola. Postcolonial.***A imagem da mulher em A cabeça de Salomé de Ana Paula Tavares***Através de uma análise baseada na imagologia, examinaremos as diferentes representações das mulheres na obra de Ana Paula Tavares, sua relação com a sociedade angolana e a forma como a obra se insere no paradigma pós-colonial.

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Németh Vítová, Lenka. "IMAGOLOGIA A PRZEKŁAD – NA PRZYKŁADZIE POLSKICH PRZEKŁADÓW LITERATURY CZESKIEJ." Porównania 22, no. 1 (March 12, 2019): 55–65. http://dx.doi.org/10.14746/p.2018.22.18166.

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Autorka, stawiajac pytanie o związki, jakie zachodzą pomiędzy imagologią a przekładem, poszukuje odpowiedzi na przykładzie polskich przekładów dzieł literatury czeskiej (Hašek, Hrabal, Havel). Związki te widzieć należy tak w procesie przekładu (wybór konkretnego dzieła i tłumacza, działania wydawnictwa i promocja, inne czynniki warunkujące itd.), jak i w dziele przetłumaczonym (aspekty tekstowe, edytorskie i ikonograficzne), a również w procesie odbioru i recepcji tłumaczenia (recenzje i opracowania, adaptacje, „kanonizowanie się” i związana z tym rola w procesie edukacyjnym itp.). Bliskie związki przekładu i imagologii, wynikające w znacznym stopniu z przyjętej w naszych kulturach „niewidzialności tłumacza” (Venuti 1995), powinny więc stanowić jeden z obszarów badań posthumanistyki.

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Cergol, Jadranka. "IMAGOLOGIA DI FRONTIERA: IL CASO DI TRIESTE." Folia linguistica et litteraria XI, no. 30 (2020): 93–107. http://dx.doi.org/10.31902/fll.30.2020.6.

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L’articolo si propone di delineare lo stato degli studi imagologici di frontiera analizzando due sistemi letterari che nascono e si sviluppano nello stesso luogo, ma in due lingue diverse: la letteratura italiana e quella slovena in una città che è l’emblema dell’incontro tra le due etnie, cioè Trieste. Dopo un’introduttiva riflessione metodologica sulle letterature comparate e sul metodo imagologico, verranno presi in considerazione soprattutto quegli autori triestini lungo tutto l’arco del 20° secolo che riflettono nelle loro opere letterarie l’incontro con il vicino, concittadino nella stessa città, ma di lingua e cultura diversa. Saranno messe in risalto alcune considerazioni di tipo storico-letterario che rispecchiano l’ambiente multiculturale di Trieste e il dialogo tra le sue due identità.

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Kiklewicz, Aleksander. "Imagologia a konstruktywizm." Przegląd Wschodnioeuropejski 11, no. 2 (December 30, 2020): 305–27. http://dx.doi.org/10.31648/pw.6512.

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The author considers the problem of creating images, namely its psychological and ontological aspects. Based on the assumption that mental representation is not a mimetic reproduction of objective reality, but a reference to mutually imputed collective knowledge, the author discusses various factors of this situation. The concept proposed by the author is based on presumption that the measure of the compatibility of the image and its designate is the content dispersion occurring in society, i.e. the number of different points of view. In the constructivist model, imaging is based on communication as a modus of the social system, in this case there is a diversification of viewpoints, and the compatibility of the image with its designate is close to 0.

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Nugroho, Fibry Jati. "Imagologi Spiritual." Diegesis : Jurnal Teologi 4, no. 2 (September 4, 2019): 26–37. http://dx.doi.org/10.46933/dgs.vol4i226-37.

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Pendeta Petrus Agung Purnomo merupakan salah seorang tokoh yang fenomenal sewaktu hidup, maupun pada saat meninggalnya. Kepemimpinan kharismatis menjadikan salah satu faktor dari keberhasilan pelayanannya. Berkenaan dengan kepemimpinan tersebut, bagaimana imagologi yang ditampilkan dari sosok kharismatis tersebut? Dengan menggunakan pendekatan kualitatif didapatkan bahwa “anak didik” dari Sang Pemimpin kharismatik, melakukan imagologi dengan mengimitasi tindakan “atraktif” sewaktu melayani. Imitasi tersebut meliputi gaya bahasa, olah tubuh dan gaya berpakaian. Ketiga hal tersebut akhirnya menjadikan standar untuk mengukur tingkat kerohanian di kalangannya. Imagologi tanpa identifikasi dan interaksi yang tidak mendalam akan menimbulkan stigmatisasi spiritual dengan pemahaman yang sangat dangkal. Oleh sebab itu diperlukan interaksi dan edukasi, supaya imagologi spiritual dapat terkikis, dan mengembalikan makna dasar tentang kehidupan spiritual di dalam gereja.

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Ahmetagić, Jasmina. "Theoretical and methodological postulates of imagology and its transformation." Bastina, no. 44 (2018): 13–24. http://dx.doi.org/10.5937/bastina1844013a.

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Neumann, Birgit. "Grundzüge einer kulturhistorischen Imagologie." KulturPoetik 10, no. 1 (April 2010): 1–24. http://dx.doi.org/10.13109/kult.2010.10.1.1.

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Kledzik, Emilia. "DWIE KONCEPCJE ROMSKIEJ IMAGOLOGII." Porównania 21, no. 2 (August 28, 2018): 314–24. http://dx.doi.org/10.14746/p.2017.21.14012.

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Grzelak, Eliza. "IMAGOLOGIA – NARZĘDZIE KREACJI INNEGO W PRZEKAZIE ELEKTRONICZNYM." Porównania 20, no. 1 (July 30, 2018): 9–24. http://dx.doi.org/10.14746/p.2017.20.11089.

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Autorka zwraca uwagę na dwie podstawowe reguły komunikologiczne, organizujące relacje między nadawcą a odbiorcą – wzajemności i zwrotności. Zauważa, że zgodnie z nimi odpowiedzialność za poprawne relacje między grupą dominującą a grupami mniejszościowymi spoczywa na wszystkich uczestnikach komunikacji. Do zadań mniejszości należy fortunna autokreacja, która powinna zachęcać do poznawania, pogłębiania wiedzy, neutralizowania negatywnych stereotypów, powinna także wyposażać odbiorcę w narzędzia promujące daną grupę w obu światach – realnym i wirtualnym. Rozważania mają charakter teoretyczny, choć poparte są spostrzeżeniami, dotyczącymi praktycznej realizacji przedstawionych założeń. Autorka weryfikuje teorię, głoszącą, że dobrze realizowane założenia imagologii mogą pomóc w zbudowaniu fortunnego wizerunku polskich mniejszości.

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Yves Chevrel. "Réception, imagologie, mythocritique: problématiques croisées." L'Esprit Créateur 49, no. 1 (2009): 9–22. http://dx.doi.org/10.1353/esp.0.0046.

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15

Maoping, Wei. "Ein neuer Versuch zur Image-Forschung – Am Beispiel der Chinesen-Bilder bei Grimmelshausen, Stifter und Fontane." Jahrbuch für Internationale Germanistik 50, no. 1 (January 1, 2018): 161–71. http://dx.doi.org/10.3726/ja501_161.

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Abstract Das Wort ,,Bild“, das in der Literaturwissenschaft auf englisch und französisch ,,image“ heißt, ist ein wesentliches Kennzeichen der poetischen Sprache. Ulrich Weisstein betitelt das sechste Kapitel seines Buchs Vergleichede Literaturwissenschaft1 aus dem Jahre 1981 mit ,,Imagologie“ und mag somit die Image-Forschung zum Zweig der Vergleichenden Literaturwissenschaft in Deutschland miterhoben haben. Als Geburtshelfer der Imagologie stellt er in diesem Kapitel Horst Rüdiger vor mit folgenden Sätzen, die zugleich die programmatische Forderung der Imagologie unterstreichen:

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Egorova, Lyudmila P. "Travelologists I.S. Sokolova-Mikitova (Imagological aspect)." Current Issues in Philology and Pedagogical Linguistics, no. 2 (2018): 152–59. http://dx.doi.org/10.29025/2079-6021-2018-2(30)-152-159.

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Travelologists, I. S., and Lyudmila P. Egorova. "Travelologists I.S. Sokolova-Mikitova (Imagological aspect)." Current Issues in Philology and Pedagogical Linguistics, no. 4 (2018): 134–41. http://dx.doi.org/10.29025/2079-6021-2018-4(32)-134-141.

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Potts, John. "Review & Booknote: Imagologies: Media Philosophy." Media International Australia 82, no. 1 (November 1996): 140. http://dx.doi.org/10.1177/1329878x9608200136.

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Dąbrowski, Mieczysław. "MIĘDZY OBRAZEM PUBLICZNYM A INTYMNYM. PROJEKT POSZERZENIA IMAGOLOGII NA PRZYKŁADZIE TWÓRCZOŚCI KATARZYNY KOZYRY I EWY KURYLUK." Porównania 20, no. 1 (July 30, 2018): 25–38. http://dx.doi.org/10.14746/p.2017.20.11119.

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Artykuł wskazuje na możliwość i konieczność poszerzenia znaczenia tradycyjnego pojęcia imagologii. Autor uważa, że od imagologii Obcego/Innego powinniśmy przejść do obrazu Ja cielesnego i mentalnego. Projekt takiej analizy przeprowadza na materiale twórczości Ewy Kuryluk i Katarzyny Kozyry.

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Adelgeym, Irina. "Viktor A. Khorev’s imagological research and the problem of the reception of Russia in (the interwar) Poland [in connection with the Warsaw conference “Russian literature and culture in the interwar Poland”]." Slavic Almanac, no. 1-2 (2019): 472–83. http://dx.doi.org/10.31168/2073-5731.2019.1-2.6.07.

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The article is dedicated to the imagological studies of the important Russian polonist Viktor Aleksandrovich Khorev (1932-2012), the first in Russia to start imagological research on Poland and Russia. To these problems he dedicated the last decade of his life. His methods in reconstructing of the important fragments of the dialogue between Poland and the Russian culture in the interwar period are analysed. This was one of the most difficult periods in the relations of Russia and Poland. The author is interested in the ways how V. A. Khorev manages to reconstruct the mulilayered, polyphonic, and split-level field of reapproaching and repulsion, intersections, gaps, catching up, and reevaluation. She is also interested in the methods of the inspecting of the role that literature had in shaping the ideas of Russia among the Poles on the one hand, and in the study of the network of intercontact connections and factors, on the other. While significantly conditioned by the ideology, the dynamics of the imagological images at the same time is an important element of the relations between the states and between the nations. This is reflected in the relations between Russia and Poland. It is specifically underlined that Khorev was first in Russia not only in comprehending and putting into practice imagological principles, but also that the correct imagological studies help in overcoming the negative stereotypes and in creating a deeper mutual understanding between the nations.

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Orekhov, Vladimir V. "Background of Russian Imagology: Tradition as an Indication of Target." Imagologiya i komparativistika, no. 14 (2020): 143–67. http://dx.doi.org/10.17223/24099554/14/7.

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Focusing on the history of Russian imagology, the article aims at identifying the origins of the imagological interests in research and public thought in Russia in the first and second thirds of the 20th century as well as research approaches of that time that may be required by modern imagology. This analytical insight arises from the endeavor of contemporary scholars to update and develop the imagology paradigm. The Patriotic War of 1812 and the entry of Russian troops into Paris in 1814 gave a powerful impulse to the imagological interests in Russian society. These events highlighted the irrational nature of European stereotypes and provided an opportunity for the Russian intellectual elite to observe how the European image of Russia evolves depending on the historical situation, which, in its turn, induced the Russians to collect and conceptualise the information about the image of Russia in European texts of different epochs. The Rossica Department in the Imperial Public Library was opened for the scholars to do bibliographic research of foreign publications about Russia. Commenting foreign essays about Russia was an important part of Russian academic and journalistic activity. Such publications regularly appeared in Syn Otechestva, Otechestvennye zapiski, Severnyy Arkhiv, Sovremennik, Biblioteka dlya chteniya, Russkiy vestnik, and Zhurnal Ministerstva narodnogo prosveshcheniya. The first imagological research proper was V.A. Klyuchevsky’s Skazaniya inostrantsev o Moskovskom gosudarstve [Legends of Foreigners about the Moscow State, 1866]. Without a critical analysis of foreign sources, the historian uses excerpts from different foreign texts to reconstruct an integral image of the Moscow state in the European consciousness. Although the first Russian imagological researches appeared in history, they laid the basis for the development of literary criticism. The book collection “Rossica” allowed Russian and foreign scholars (M.P. Alekseev, B.L. Modzalevsky, E.V. Tarle, M. Kadot) to study the Western literary opinion about Russia. Yu.M. Lotman relied on the imagological observations made by V.A. Klyuchevsky and his followers. Methodology of Soviet imagological research in literary criticism (M.P. Alekseev, B.G. Reizov, A.K. Vinogradov) was guided by the principles of history. These facts give grounds to speak about the formation of the Russian tradition of imagological researches, which has two characteristics: 1) following the principle of historicity and 2) focus on the functioning of the image of Russia in European literature of different epochs. In this context, it seems relevant for the Russian imagological works to focus on the phenomenon of “reverse reception” in Russian literature of the 19th century, that is on the Russian writers’ endeavor to comprehend the European image of Russia (to create a “meta-image”) and to oppose this image with their own holistic idea of Russia and its national features.

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Kozlova, A. A. "Imagological Method in Literary and Cultural Research." Observatory of Culture, no. 3 (June 28, 2015): 114–18. http://dx.doi.org/10.25281/2072-3156-2015-0-3-114-118.

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Imagological Method in Literary and Cultural Research (by Alexandra Kozlova). The categories of otherness and strangeness, mainly expressed in terms of impression of a different people’s culture, language, and mentality shown in another people’s literature, are among the most actual problems of modern literary studies, specifically of comparativistics. Perception of one culture by another gives an idea of a different people or country, which later constitutes a well-defined image. The image can more or less correspond to reality or can essentially differ from it. Formation of the image is a rather long-term process influenced by a lot of different and unexpected factors.

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Šutalo, Goranka, and Josipa Tomašić. "Identity and Cultural Memory in Cvit razgovora naroda i jezika iliričkoga aliti rvackoga [The Flower of Conversation of Illyrian or Croatian People and Language] (1747) by Filip Grabovac." Narodna umjetnost 56, no. 2 (December 30, 2019): 157–83. http://dx.doi.org/10.15176/vol56no208.

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This article deals with the textual construction of identity and the strategy of remembrance in Cvit razgovora naroda i jezika iliričkoga aliti rvackoga [The Flower of Conversation of Illyrian or Croatian people and language] (1747) by Filip Grabovac. Using the imagological analytical apparatus, the phenomenon of constituting confessional (Catholic) identity and (dominant Eastern Orthodox) alterity is discussed. The analysis focuses on textual construction or representation of confessional identities, or alterities, wherein numerous value-charged expressions are present. Given the importance of the sociohistorical context in imagological research, the paper takes into account not only the history of literature, but also the history of culture. In addition to imagological treatment, Grabovac’s text is also examined within the framework of cultural memory; discursive strategies of remembrance which maintain the constructed identity are analysed, firm reference points of memory and symbolic figures to which memory adheres are identified.

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Dajnowski, Maciej. "Imagologia przestrzenna w ekofantastyce. Uwagi na marginesie prozy Paola Bacigalupiego." Białostockie Studia Literaturoznawcze, no. 15 (2019): 77–95. http://dx.doi.org/10.15290/bsl.2019.15.06.

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Bylaardt, Cid Ottoni. "As imagens do outro em O esplendor de Portugal, de António Lobo Antunes." Aletria: Revista de Estudos de Literatura 16, no. 2 (December 31, 2007): 168–75. http://dx.doi.org/10.17851/2317-2096.16.2.168-175.

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Resumo: Este trabalho pretende empreender um estudo das imagens do estrangeiro, focalizado como “o outro”, nas relações entre as vozes e os corpos do romance O esplendor de Portugal, de António Lobo Antunes. Essa análise comparatista propõe conceber uma imagem literária sobre o estrangeiro como elemento cultural que remete à sociedade, uma imagologie que lida com a literarização e a socialização da imagística.Palavras-chave: imagens; o outro; estrangeiro; Imagologie.Abstract: This paper intends to study the images of the foreigner, focused as “the other”, in the relations between the voices and the bodies in the novel O esplendor de Portugal, by António Lobo Antunes. This comparative analysis proposes to conceive a literary image about the foreigner as a cultural element related to society, an imagologie that deals with literarization and socialization of imagistics.Keywords: images; the other; foreigner; Imagologie.

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Vechorynska, T., and О. Vorobei. "The Imagological Approach to the Overseas Chinese Literature." World of the Orient 2021, no. 1 (March 30, 2021): 93–101. http://dx.doi.org/10.15407/orientw2021.01.093.

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Uriadova, Anna. "The historical imagology: subject and object of perception." Przegląd Wschodnioeuropejski 11, no. 2 (December 30, 2020): 167–74. http://dx.doi.org/10.31648/pw.6499.

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The article discusses historical imagology one of the areas of imagology in general. It analyzes the sources, which are essential and most often used in such studies. The historiography of the issue is briefly considered. This article for the first time in the research literature on historical imagology and imagology in general pays special attention to the object and subject of historical imagological works. Several approaches to determining the object of research have been identified. The subject of imagological research is examined in detail. The issue of factors affecting perception is raised. Attention is paid to the problem of image variability and stereotepization.

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Gurina, Ekaterina. "Imagological Stereotypes in Letters and Diaries of Besieged Leningrad." European Journal of Language and Literature 6, no. 1 (January 1, 2020): 47. http://dx.doi.org/10.26417/ejls.v6i1.p47-54.

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The article deals with the problem of cross-cultural communication and imagological stereotypes that every nation has. It discusses their influence on the assessment of historical events. It analyses “Pryamaya rech” (Direct Speech) - a documentary book created by amateur writers L. Romankov, M. Romankova - engineers and physisits, L. Myasnikova – a surgeon, and the reviews of a historical book written by Boston University assosiate professor of history A. Peri, containing diaries of besieged Leningrad. The Russian belief in such principles as collectivism, generosity, self-restriction, self-control, diligence and conscientiousness is considered by foreign scholars to have been imposed by “Soviet propaganda”. Nevertheless, I argue that they became the result of theRussian nation’s evolutionary development during its long and tragic history. It is these traits of character rather than individualism, found by A. Peri in the diaries, that are more typical for Russian people and that can help to survive in historical catastrophes. I also suppose that Russian classical literature has become part and parcel of foreign hetero -stereotype image of Russia. Several intertextual links of besieged Leningrad diaries to classical Russian literature have been found by A Peri and the authors of foreign reviews.

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D'Alte, Pedro Gabriel. "IMAGOLOGIA ROBÓTICA: robôs e inteligência artificial nas narrativas para crianças e jovens." Revista Observatório 5, no. 5 (August 1, 2019): 586–614. http://dx.doi.org/10.20873/uft.2447-4266.2019v5n5p586.

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As narrativas para a infância e juventude absorvem os discursos sobre a inteligência artificial e, por meio de processos literários abeirados ora de um certo mimetismo ora da mais virtuosa reconfiguração da realidade, apresentam cenários que convidam o leitor, desde tenra idade, a repensar um mundo permeado pelo digital. As narrativas escolhidas para o presente exercício intelectual intentam demonstrar um caleidoscópio de imagens variado e que dê conta de diferentes perspetivas face à inteligência artificial promovendo, desta forma, um exercício crítico e exploratório sobre a mesma. PALAVRAS-CHAVE: Literatura para crianças e jovens; Inteligência artificial; Imagologia robótica; robôs na literatura para a infância. ABSTRACTThe narratives for childhood and youth absorb the discourses about artificial intelligence and, through the use of literary processes either close to a certain mimicry or to the most virtuous reconfiguration of reality, present scenarios that invite the reader, since an early age, to rethink a world permeated by digital. The narratives chosen for the present intellectual exercise attempt to demonstrate a kaleidoscope of images and to account for different perspectives in relation to artificial intelligence, thus promoting a critical and exploratory exercise on this matter. KEYWORDS: Children’s literature; Artificial intelligence; Robotic imagery; Robots in children’s literature. RESUMEN Las narrativas para la infancia y la juventud absorben discursos sobre inteligencia artificial y, a través de procesos literarios bien conocidos, a veces de una cierta imitación, a veces de la reconfiguración más virtuosa de la realidad, escenarios actuales que invitan al lector, desde una edad temprana, a repensar un mundo. impregnado por digital. Las narraciones elegidas para el presente ejercicio intelectual pretenden demostrar un caleidoscopio de imágenes variadas que ofrece diferentes perspectivas sobre la inteligencia artificial, promoviendo así un ejercicio crítico y exploratorio sobre el mismo. PALABRAS CLAVE: Literatura para niños y jóvenes; Inteligencia artificial; Imagen robótica; robots en literatura para la infancia.

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Barinova, Ekaterina V. "ENGLAND IN SYLVIA PLATH'S PROSE: AN ATTEMPT OF IMAGOLOGICAL ANALYSIS." Imagologiya i komparativistika, no. 13 (2020): 173–87. http://dx.doi.org/10.17223/24099554/13/10.

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DAŞCIOĞLU, Yılmaz. "An Imagologist Approach To Mehmet Enisi Yalkı's Travelbook "Alman Ruhu"." Journal of Turkish Studies Volume 7 Issue 4-I, no. 7 (2012): 315–28. http://dx.doi.org/10.7827/turkishstudies.4161.

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Laurušaitė, Laura. "The Imagological Approach to Lithuanian and Latvian Contemporary Émigré Narratives." Interlitteraria 20, no. 1 (July 7, 2015): 168. http://dx.doi.org/10.12697/il.2015.20.1.13.

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Czyżak, Agnieszka. "CZARDASZ I GULASZ – OBRAZY WĘGIERSKIEJ „INNOŚCI” W TWÓRCZOŚCI KRZYSZTOFA VARGI." Porównania 20, no. 1 (July 30, 2018): 87–95. http://dx.doi.org/10.14746/p.2017.20.12740.

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Artykuł zawiera interpretację dwóch utworów Krzysztofa Vargi, Gulaszu z turula (2007) oraz Czardasza z mangalicą (2014). Teksty te – o zarazem autobiograficznym i reportażowym charakterze – stanowią rozpoznanie współczesnej świadomości zbiorowej zarówno Węgrów, jak i Polaków. Imagologia, jako fakt kulturowy oraz metodologia służąca badaniu obrazów i idei przybierających postać mitów, wzorców i motywów, okazuje się niezwykle przydatnym narzędziem w obszarze studiów kulturowych, szczególnie w nurcie badań postkolonialnych (postzależnościowych) oraz komparatystycznych.

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Freeth, Peter Jonathan. "“Germany asks: is it OK to laugh at Hitler?”." Transnational Image Building 10, no. 1 (May 4, 2021): 115–37. http://dx.doi.org/10.1075/ts.20003.fre.

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Abstract Within imagological approaches, paratexts can provide insights into how the Other of translated literature is presented to a new target audience. So, within a transnational context, such as Germany and Britain’s shared experience of the Second World War, can the source and target-culture paratexts invoke the same images? Through a case study of Er ist wieder da, a novel that satirises Germany’s relationship with its National Socialist past, and the British publication of the English translation Look Who’s Back, this article finds that while the novel’s humour is reframed by the British publisher, the novel’s controversial position within Germany’s Vergangenheitsbewältigung discourse remains intrinsic to the paratexts published in the British press. As such, this article demonstrates the transnational relevance of individual national characteristics to the paratextual framing of translated literature, the value of paratexts as objects of imagological study, and the methodological benefits of distinguishing between production- and reception-side paratexts.

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ALPAY, İmge. "DEVELOPMENT OF IMAGOLOGY IN RUSSIA AND IMAGOLOGICAL REFLECTIONS IN LITERARY DISCOURSE." Journal of International Social Research 13, no. 69 (March 1, 2020): 20–26. http://dx.doi.org/10.17719/jisr.2020.3936.

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Ivanova, Najda. "The image of Venice in The Mountain Wreath: Some imagological observations." Juznoslovenski filolog 71, no. 1-2 (2015): 15–41. http://dx.doi.org/10.2298/jfi1502015i.

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Drasko?s story about his trip to Venice represented in the poem The Mountain Wreath (1847), written by Peter Petrovic Njegos, is an object of many interpretations in theoretical Njegos studies as well as in the educational, popular science, the media, political and many other types of discourse. In this article, we aim at providing a linguo-imagological analysis of the fragment. The mechanisms of shaping and the semantic structure of the hetero-stereotypes about Venice and the Venetians are examined. In addition, both the influence of the author?s intention and that of the socio-cultural discourse regarding the creation of the poem on the way of selection and the use of expressive means are examined.

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Pop, Doru. "Notes on Fatalism and Melancholia in Romanian Cinema: An Imagological Approach." Ekphrasis. Images, Cinema, Theory, Media 21, no. 1 (June 27, 2019): 123–47. http://dx.doi.org/10.24193/ekphrasis.21.10.

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Marina Rivas, Luz. "De El laberinto de la soledad a “Chac Mool” y “Luvina” en perspectiva imagológica." Araucaria, no. 43 (2020): 284–305. http://dx.doi.org/10.12795/araucaria.2020.i43.15.

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Košničar, Sofija M. "ASPEKTI DRUGOSTI U RANOM PUTOPISNOM DISKURSU MILOŠA CRNJANSKOG O BANATSKIM ŠVABAMA U SVETLU POTESTARNE IMAGOLOGIJE." Годишњак Филозофског факултета у Новом Саду 40, no. 1 (December 10, 2015): 129. http://dx.doi.org/10.19090/gff.2015.1.129-149.

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U radu je, s aspekta potestarne imagologije, fokusirana rana putopisna proza Miloša Crnjanskog koja tematizuje problematiku vezanu za život Švaba nastanjenih u Banatu, koji su, nakon Prvog svetskog rata, pripali Kraljevini Srba, Hrvata i Slovenaca. Ratne reperkusije su se na specifičan način reflektovale na njihov poratni život, s obzirom na to da su se, u novom društvenom kontekstu, našle u poziciji unutrašnje Drugosti. Predmet istraživanja je razmotren na osnovu upečatljivog putopisnog svedočenja Crnjanskog (O Banatu i o Banaćanima, te Izveštaji iz Vojvodine, iz 1923-1925). Zapaža se da su Crnjanskove predstave o Švabama građene u vidu imagema na kontrapunktu opozitnog bilateratnog para identitet / alteritet. Stoga su, istovremeno, sagledane i Crnjanskove predstave o sopstvenoj zemlji, nje- noj vlasti i narodu. U poziciji identiteta je srpski, a u poziciji alteriteta je nemački (švapski) entitet. Vizura donosi pregled pozitivnih i negativnih karakteristika sa obe strane opozitnog para. S tim u vezi, posebna pažnja je posvećena potestarnim imagologoškim vizurama, s akcentom na komunikativnim aspektima vlasti i njenom odnosu prema švapskoj Drugosti, ali i odnosa Švaba prema toj vlasti, u konkretnom kulturnom kontekstu.

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Tretyakov, Evgeniy O. "RUSSIA IN DEAD SOULS BY NIKOLAI GOGOL AS A METAPHYSICAL IMAGOLOGICAL SPACE." Imagologiya i komparativistika, no. 13 (2020): 110–27. http://dx.doi.org/10.17223/24099554/13/7.

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Ahrens, Jörn. "Imagologien des Ursprungs: Ridley Scotts Alien als Beispiel einer Mythologie der Moderne." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 81, no. 3 (September 2007): 440–74. http://dx.doi.org/10.1007/bf03374638.

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van Haaske, Lejonis Aanris. "Accusatory discourse of the Salem witch trial: the experience of imagological analysis." Genesis: исторические исследования, no. 2 (February 2021): 34–46. http://dx.doi.org/10.25136/2409-868x.2021.2.35055.

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The object of this research is the imagery underlying the accusation of witchcraft within the framework of the Salem witch trial (colonial Massachusetts, 1692). The author reviews the imagery that is directly related to the witchcraft discourse, as well as the general principles of accusations of witchcraft. Emphasis is placed on the impact of such imagery upon the collective consciousness of the Puritan community in North America in the XVII century. Special attention is turned to the mythological symbols reflected in the discourse of justice. The article is prepared within the framework of the authorial project on studying the influence of the imagery of fear on social behavior in history. The fact of randomness of accusations was established. The leading imagery, which was the cause for the accusation of witchcraft, is revealed. The ultimate role of fear of supernatural influence in this trial is recognized. The author notes the prime importance of fear as an actor of collective action and the importance of studying this phenomenon in the context of historical science. The conclusion is drawn on impossibility of interpretation of the Salem trial as an instance of aggression towards the persons who have a special (socioeconomic, religious, or marginal) status within the community. The novelty of this research consists in the use of formal legal sources in the analysis of cultural space in the imagological context.

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ELNAGGAR, Diaa. "Der Orient in der emblematischen Literatur des Barock. Ein Beitrag zur Imagologie." Kairoer Germanistische Studien 18, no. 1 (September 1, 2009): 93–110. http://dx.doi.org/10.21608/kgs.2009.144292.

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Bylaardt, Cid Ottoni. "As imagens do outro em O esplendor de Portugal, de António Lobo Antunes." Aletria: Revista de Estudos de Literatura 16 (December 31, 2007): 168. http://dx.doi.org/10.17851/2317-2096.16.0.168-175.

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Este trabalho pretende empreender um estudo das imagens do estrangeiro, focalizado como “o outro”, nas relações entre as vozes e os corpos do romance O esplendor de Portugal, de António Lobo Antunes. Essa análise comparatista propõe conceber uma imagem literária sobre o estrangeiro como elemento cultural que remete à sociedade, uma imagologie que lida com a literarização e a socialização da imagística.

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Psaila, Yana V. "VLADIMIR VYSOTSKY’S POETRY IN THE IMAGOLOGICAL CONTEXT: THE TENDENCIES OF THE TRANSLATION PERCEPTION." Tekst. Kniga. Knigoizdanie, no. 15 (December 1, 2017): 56–71. http://dx.doi.org/10.17223/23062061/15/4.

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Ivanova, Ludmila P. "GERMANY AND THE GERMANS IN THE PERCEPTION OF D. FONVIZIN (LINGUISTIC-IMAGOLOGICAL ASPECT)." Bulletin of the Moscow State Regional University (Russian philology), no. 3 (2017): 6–17. http://dx.doi.org/10.18384/2310-7278-2017-3-6-17.

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Moroz-Grzelak, Lilla. "Marta Chaszczewicz-Rydel, Obrazy Bałkanów. Mity, stereotypy, nowa imagologia, Oficyna Wydawnicza ATUT, Wrocław 2013, ss. 339." Balcanica Posnaniensia Acta et studia 22, no. 2 (March 8, 2016): 234. http://dx.doi.org/10.14746/bp.2015.22.33.

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Baltrusch, B. "Mito Feminino e Imagologia Masculina: A Representacao da Mulher em Memorial do Convento de Jose Saramago." Luso-Brazilian Review 49, no. 2 (December 1, 2012): 207–31. http://dx.doi.org/10.1353/lbr.2012.0039.

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Ionescu, Dan. "How Journalism Escorts Daily Life from Oltenia in Years 1920-1930." International Letters of Social and Humanistic Sciences 23 (March 2014): 57–65. http://dx.doi.org/10.18052/www.scipress.com/ilshs.23.57.

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The research is situated in the domain of the thematic history of the press. It approaches the topic of living, of the mundane existence of citizen's middle standard. Related to authorized views on this topic, the paper highlights: a) imagological inductions in everyday life, b) living in America of years 1920-1930 and Danish journalists’ living analyzed at 1930 journalists from Oltenia, and c) the Romanian villagers life (in the range 1881-1937).

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Gavrilă, Ana-Maria. "Understanding Jerusalem and its Cross-Cultural Dilemmas in Guy Delisle’s Jerusalem: Chronicles From the Holy City." Acta Universitatis Sapientiae, Philologica 7, no. 1 (December 1, 2015): 133–44. http://dx.doi.org/10.1515/ausp-2015-0042.

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Abstract Guy Delisle’s Jerusalem: Chronicles from the Holy City (2011) is a nonfictional graphic novel which narrates the experiences during a year that the Canadian artist and his family spent living far from home, in the occasionally dangerous and perilous city of the ancient Middle East. Part humorous memoir filled with “the logistics of everyday life,” part an inquisitive and sharp-eyed travelogue, Jerusalem is interspersed with enthralling lessons on the history of the region, together with vignettes of brief strips of Delisle’s encounters with expatriates and locals, with Jewish, Muslim, and Christian communities in and around the city, with Bedouins, Israeli and Palestinians. Since the comic strip is considered amongst the privileged genres able to disseminate stereotypes, Jerusalem tackles cultural as well as physical barriers, delimiting between domestic and foreign space, while revealing the historical context of the Israeli-Palestinian present conflict. Using this idea as a point of departure, I employ an imagological method of interpretation to address cross-cultural confusions in analysing the cartoonist’s travelogue as discourse of representation and ways of understanding cultural transmission, paying attention to the genre’s convention, where Delisle’s drawing style fits nicely the narrative techniques employed. Through an imagological perspective, I will also pay attention to the interaction between cultures and the dynamics between the images which characterise the Other (the nationalities represented or the spected) and those which characterise - not without a sense of irony - his own identity (self-portraits or auto-images). I shall take into account throughout my analysis that the source of this graphic memoir is inevitably a subjective one: even though Delisle professes an unbiased mind-set from the very beginning, the comic is at times coloured by his secular views. Delisle’s book is a dark, yet gentle comedy, and his wife’s job at the Doctors Without Borders paired with his personal experiences are paradoxically a gentle reminder that “There’ll always be borders.” In sum, the comic medium brings a sense of novelty to the imagological and hermeneutic conception of the interpretation of cultural and national stereotypes and/or otherness in artistic and literary works.

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Journal articles on the topic 'Imagologija'

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