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Journal articles on the topic 'Photographie – Langage'
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1
Dewerpe, Alain. "Miroirs d'usines : photographies industrielle et organisation du travail a l'Ansaldo (1900-1920)." Annales. Histoire, Sciences Sociales 42, no. 5 (October 1987): 1079–114. http://dx.doi.org/10.3406/ahess.1987.283437.
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L'usage de la photographie comme source de l'histoire sociale est paradoxale : il la subordonne le plus souvent à l'archive, à qui l'image sert d'appoint, qui précise et illustre un savoir acquis, constitué par le langage écrit. La photographie est juxtaposée au texte, en contrepoint, mais le texte ne se prononce pas sur l'image, qui demeure un résidu. Nous voudrions ici tenter d'en inverser la logique en partant du document photographique comme source première, en ne recourant à l'imprimé que comme appoint. L'histoire du travail est un champ à cet égard significatif en raison du petit nombre d'études consacrées à la photographie industrielle — utilisée pourtant massivement par l'archéologie industrielle — qui contraste avec la masse énorme de documents photographiques disponibles.
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Ferraris-Besso, Caroline. "La Preuve par l'image: l'usage de la photographie dans La Moustache d'Emmanuel Carrère." Nottingham French Studies 60, no. 1 (March 2021): 98–113. http://dx.doi.org/10.3366/nfs.2021.0307.
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Nous éloignant de lectures antérieures de La Moustache qui se penchent sur les questions de la folie et de l'identité, nous nous intéressons de manière systématique à l'exploitation du motif de la photographie par Emmanuel Carrère dans son roman (1986) et son film (2005). La première section s'intéresse au rôle du langage dans la création d'images ambivalentes dans le roman. La deuxième section est consacrée à l'adaptation cinématographique qui pose par le biais des photographies la question de la vérité. Dans une troisième section, nous examinons l'influence des représentations sur la réalité. Nous montrons qu'au travers de différentes manipulations autour des images photographiques, La Moustache, dans ses deux versions, met en question la perception, la représentation du réel et la question de la vérité.
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Alba Pagán, Ester, and Aneta Vasileva Ivanova. "Du côté de chez la nomade. La femme gitane : mythe, photographie et auto(re)présentation." HYBRIDA, no. 1 (December 3, 2020): 129. http://dx.doi.org/10.7203/hybrida.1.16871.
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L’article reflet une longue recherche sur la représentation sociale des gitanas (o romi espagnoles). L’un de nos outils d’analyse est la photographie dans le cadre de ses relations avec le régime de la politique visuelle préétablie. Dans ce cas, nous enquêtons sur la manière de construire l’image de l’Altérité faite par des artistes français qui ont visité l’Espagne plus ou moins impliqués dans le paradigme exotique. Plus tard, quelques tendances plastiques plus expérimentales ont essayé d’autres types de regard, non sans des difficultés. Le deuxième paramètre que nous avons utilisé était la réponse auto-représentative des femmes gitanes contemporaines. Nous avons développé et mené une série d’entretiens avec des représentantes de diverses organisations romani en Espagne (Valence). Il s’agit de femmes engagées dans la revisón critique de nombreux déterminants de leur vie. Leur réponses au sujet des deux fondements de la représentation, le langage et l’image, nous ont apportées une aide inestimable et de nombreuses surprises.
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Mononen, Kaarina, and Hanna Lappalainen. "Taidetta ja tutkimusta näyttelyssä." AFinLA-e: Soveltavan kielitieteen tutkimuksia, no. 12 (April 16, 2020): 1–31. http://dx.doi.org/10.30660/afinla.84523.
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The aim of this study is to describe how linguistic biographies and photographic art complement each other in an exhibition. The exhibition was part of a project on biographies that were collected through conducting interviews, and some of the interviewees were subsequently photographed. The photos and written summaries that were based on the interviews were displayed together. This article discusses how photos are interpreted in relation to biographies. The data consist of the learning diaries of the students who visited the exhibition, interviews with the photographer and with some of those who were photographed. The linguistically oriented content analysis reveals that the interpretations of the photos were predominantly based on where the photographs were taken as well as on the appearance of the person in the photo. The informants also connected their observations to the use of languages and language attitudes of the interviewees who were photographed. In addition, the article analyses how the photographer discusses his choices of place and setting during the process of constructing linguistic biographies.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.
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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Parejo, Nekane. "Transcripción cinematográfica de la mirada erótica del fotógrafo Bellocq en Pretty Baby de Louis Malle." Çédille 12 (April 1, 2016): 338. http://dx.doi.org/10.21071/ced.v12i.5628.
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Au début du XXe siècle Ernest James Bellocq a photographié avec son appareil photo l’image des prostituées de la Nouvelle- Orléans. Des années plus tard, Louis Malle a donné vie à ce mystérieux photographe sur l’écran dans le contreversé film La petite (Pretty Baby, 1978). Trois questions se posent en faisant un étude précis des oeuvres de ces auteurs. L’une d’elles se centre sur le parallélisme entre le personnage de Bellocq et celui que Malle a recrée dans son film. Une deuxième question est en rapport avec la représentation cinématographique des filles photographiées dans le bordel de Storyville. Et finalement, on va aborder l’acte photographique pour déterminer la transcription construite par le cinéaste.
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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.
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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Welch, Edward. "La Carte et le territoire: Mapping, Photography and the Visualization of Contemporary France." Nottingham French Studies 53, no. 2 (July 2014): 186–200. http://dx.doi.org/10.3366/nfs.2014.0085.
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Drawing on recent work by novelist Michel Houellebecq and photographer Raymond Depardon, this article examines the relationship between visual culture, spatial change and modernization in contemporary France. Investigating how Houellebecq foregrounds the visual representation of space in his novel La Carte et le territoire (2010), the article goes on to align the questions it raises with the six-year photographic tour of France undertaken by Raymond Depardon during the first decade of the twenty-first century. It considers Depardon's portrait of contemporary France in the context of his previous engagement with spatial change and state-led planning as part of the Mission photographique de la DATAR of the 1980s. It explores the vision of spatial layering and heterogeneity which emerges from the project, and discusses how it reasserts the importance of photography for capturing and articulating territorial identity and spatial change.
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Pierce, Kathleen. "Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay." Medical History 64, no. 1 (December 19, 2019): 116–41. http://dx.doi.org/10.1017/mdh.2019.79.
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In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis – the colour, texture, and patterns of primary chancres or secondary rashes – was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations.Yet photography’s relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient’s skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection.
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Eshaghi, Peyman. "To Capture a Cherished Past." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 282–306. http://dx.doi.org/10.1163/18739865-00802007.
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This essay focuses on the genre of pilgrimage photography as it developed over the course of the twentieth century in the holy city of Mashhad, Iran. Photographs made during pilgrimages to the shrine of Imam Riza count among the most popular vernacular genres of Iranian photography. Pilgrimage photographs should be understood as sacred photo-objects, at once signifiers and carriers of piety. Once framed and taken home by pilgrims, they not only capture and memorialize the sacred encounter, but also carry the aura of the divine into the mundane space and time of the everyday. I focus on the particular visual language of these sacred photographic objects; a visual language achieved through costumes, gestures and body language, through painted backgrounds with symbolic themes. Second, I consider the kind of cultural work and pious affect they elicit as image-objects when placed in pilgrim’s homes. I end by briefly considering the recent changes and continuities brought about by digital imaging technologies.
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Kukanova, Viktoriya V., Aleksandra T. Bayanova, and Larisa B. Mandzhikova. "Газетные фотографии: использование приема гиперболизации (на материале публикаций в газете «Хальмг үнн» («Калмыцкая правда») в 1957–1961 гг.)." Oriental Studies 13, no. 6 (December 30, 2020): 1579–93. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1579-1593.
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Introduction. Photography is a visual source of information, and its unique character has been recognized by numerous researchers. Newspaper photographs tend to mirror both a historical era proper and daily life of its inhabitants. Goals. The paper aims at analyzing the ‘essential messages’ of photographs published by Khalmg Ünn (‘The Kalmyk Pravda’) newspaper in 1957–1961. The periodical is an ethnic-oriented print media to have published — and still does — Kalmyk language materials. Materials and Methods. The continuous sampling method was employed to extract photographs from newspaper issues of 1957–1961. So, a total of 4,000 units were analyzed, but the study primarily focuses on pictures that were taken by local photographers in the territory of the Kalmyk ASSR. Photographs by TASS were involved to trace similar trends through comparison with regional photographic images. Conclusions. The study shows that photographic materials of Khalmg Ünn (‘The Kalmyk Pravda’) highlight different artistic trends manifested in the eclectic patterns compiled from both Socialist realism and the ‘severe style’ (the latter characterized by romantic heroification of strenuous laborers). Just in two years the newspaper images rapidly evolutionized from mere shots to photographic pictures created through the use of diverse means and methods, e.g., that of hyperbolization achieved via different camera angles and glass prism techniques. Newspaper photographers turned to common laborers to show their joys and hardships, everyday life of citizens not involved in party or any other administrative activities. The Khrushchev era gave rise to most essential changes in newspaper photography and the images examined. Further analysis of newspaper materials shall facilitate the development of both regional print media and anthropological studies at large.
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ALLBESON, TOM. "PHOTOGRAPHIC DIPLOMACY IN THE POSTWAR WORLD: UNESCO AND THE CONCEPTION OF PHOTOGRAPHY AS A UNIVERSAL LANGUAGE, 1946–1956." Modern Intellectual History 12, no. 2 (January 26, 2015): 383–415. http://dx.doi.org/10.1017/s1479244314000316.
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In the postwar decade, UNESCO aimed to create an international public sphere to secure peace. The organization made extensive use of photographs to do so, including the photographic archive of works of art and photojournalism from the ruined cities of Europe. However, photography was not simply a transparent medium for communicating internationalist ideals; it was a formative influence in shaping UNESCO's effort to build “peace in the minds of men”. This essay analyses the conception of photography as a universal language articulated in UNESCO-sponsored forums, the use of photography in UNESCO publications concerning human rights and educational reconstruction, and the internationalist ideals of world culture and world citizenship relevant to UNESCO's early work. Analysis reveals that UNESCO's use of photography was less the valuable deployment of a universal language suited to an internationalist agenda than it was the universalizing of certain cultural values in pursuit of the organization's utopian vision.
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Molnar, Michael. "Freud & Co." Psychoanalysis and History 8, no. 2 (July 2006): 255–66. http://dx.doi.org/10.3366/pah.2006.8.2.255.
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A previously unknown photograph of the old Emanuel Freud with his youngest daughter Bertha inspires an attempt to salvage what can be rescued of these lost lives and reminds us that history is always incomplete. Emanuel's appearances in Freud's dreams exemplify the dream-like aspects of the photographic image, which momentarily highlights particular aspects of the sitter while neglecting others. Examining photographs for documentation involves a reappraisal of the language of historical evidence.
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Kapišovská, Veronika V. "Фотографии артефактов монгольского цама, сделанные чехословацкими исследователями в 1950-х и 1960-х гг.: новый взгляд на старые документы." Oriental Studies 13, no. 6 (December 30, 2020): 1513–23. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1513-1523.
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Introduction. This paper deals with two sets of colour photographs of Mongolian tsam masks taken by Czechoslovak archaeologist Lumír Jisl (1921–1969) and art photographer Werner Forman (1921–2010) in Mongolia during the period of 1956–1963. Werner Formanʼs photographs appeared in Lamaistische Tanzmasken. This unpretentious, slim volume, with a text composed by B. Rinchen (with the apparent assistance of a former tsam ceremony master, giving it unequivocal authenticity) holds a unique position: it was published 32 years after the last eye-witness description of the Mongolian tsam given by Shastina in 1935 (including black-and-white photographs), and some two decades before the series of tsam mask photographs featured in Tsultemʼs Mongolian Sculpture and Iskusstvo Mongolii ʻMongolian Artʼ. In contrast, Lumír Jislʼs photographs, apart from the few that were published during his lifetime, were preserved in a family archive for more than fifty years. The goal of this paper is to describe the circumstances under which these colour photographs came into being. A brief account is given of the visits to Mongolia undertaken by Lumír Jisl and Werner Forman. The general background of Czechoslovak-Mongolian cooperation in its first decade after the establishment of diplomatic relations between the two countries is also sketched out. At that time, tsam masks were stored in the Choijin Lama Temple, one of the very few monastic complexes to survive the antireligious campaign of the late 1930s; the temple became shelter to many religious artefacts. In addition to photographing this temple complex, Lumír Jisl photographed the tsam masks during research trips to at least three regional museums. This paper also describes the different goals and visions of both Lumír Jisl and Werner Forman when photographing the tsam masks, resulting in differing modes of execution. In conclusion, I examine the changes in perspective of the Buddhist monks following the general atmosphere of mistrust and fear engendered by the antireligion campaigns and repressions of the late 1930s, as well as the subsequent partial easing of these repressions. Not only were Forman and Jisl both invited to take photographs of religious artefacts, but they also received assistance in doing so. The Mongolian monks who helped Forman and Jisl had to accept, however, the drastically changed status of these artefacts: once sacred items used in religious ritual dance, they were now objects of Mongolian artistic heritage.
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Muller, Catherine. "L’immersion fictionnelle, ou comment concilier art et émotion en cours de langue." Voix Plurielles 11, no. 1 (April 30, 2014): 89–100. http://dx.doi.org/10.26522/vp.v11i1.920.
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Cet article porte sur l’expérience artistique en classe de langue sous l’angle des réactions verbales. Nous proposons d’analyser les interactions orales recueillies lors d’une activité de commentaire de photographies mise en œuvre en classe de français enseigné comme langue étrangère auprès d’apprenants adultes en contexte pluriculturel. Notre perspective est focalisée sur l’une des formes de réception des œuvres, l’immersion fictionnelle. Grâce à une analogie perçue entre l’univers fictionnel et le monde réel, les apprenants construisent de l’empathie envers l’un des personnages de la photographie, ce qui les amène à participer pleinement à la fiction. Ce phénomène se manifeste par l’attribution de paroles aux personnages de l’image. C’est à travers la notion de polyphonie énonciative que nous étudions différents extraits recueillis devant la photographie Les mariés d’Arthur Tress. Lorsque les apprenants font précéder les énoncés des personnages d’un verbe introducteur, ils se comportent comme des metteurs en scène donnant des instructions à leurs comédiens. Lorsque leurs énoncés sont dépourvus de verbes de dire, ils incarnent véritablement les personnages à la manière d’acteurs.
Fictional Immersion: Combining Art and Emotion in the Language Classroom
Abstract: The article deals with the verbal reactions induced by an artistic experience in a language classroom. Our perspective is to analyze the oral interactions triggered by an activity asking adult learners to comment on photographs in lessons of French taught as a foreign language in a pluricultural context. This paper focuses on fictional immersion, which is one of the possible reactions to the pictures. As they perceive a form of analogy between the fictional universe and the real world, the students build empathy with one of the characters in the photograph, which encourages them to fully participate in the fiction. They speak the parts of the characters on the image. The notion of enunciative polyphony helps us to study different excerpts where the students comment on the photograph Bride and Groom by Arthur Tress. When the learners use a verb to introduce the characters’ utterances, they behave as stage directors giving instructions to actors. When they do not use such verbs, they truly embody characters, just like actors do.
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Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (November 1, 2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.
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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century, and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s identification photograph.
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Jordan, Shirley. "Not Yet Fallen: Memory, Trace and Time in Stéphane Couturier's City Photography." Nottingham French Studies 53, no. 2 (July 2014): 169–85. http://dx.doi.org/10.3366/nfs.2014.0084.
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Harnessing concepts related to memory, trace, time and the archive, this article examines in detail the highly distinctive city photography of French photographer Stéphane Couturier. It focuses on the ways in which two of Couturier's major series, Archéologie urbaine (1994–2010) and Melting Point (2005–13), investigate the fabric of urban environments in Europe and beyond, concentrating in the first case on heritage layers and pockets of demolition or reconstruction, and in the second on the pervasive modular architecture of urban and peri-urban blocks. The article analyses the tension in Couturier between the photograph as documentary and as art, and situates the photographer – an architect by training – with regard to key nineteenth- and early-twentieth-century predecessors whose studies of the city in photography and in painting appear to resurface in his work and whose engagement with urban change and technological evolution he shares and updates for our time.
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John, Donna. "Beyond Polaroid: Visual Rhetoric in Shaping Refugee’s Identity." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 28, 2021): 221–28. http://dx.doi.org/10.24113/ijellh.v9i5.11061.
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Photographs tend to have an ability to influence the collective consciousness of humanity. Sonja K. Foss, a rhetorical educator, opines that language is general while images are concrete and specific. Many a time, photographs have become spokespersons of the suffering and needy lot. Throughout its history, photography has created opinions, constructed realities of people and brought human tragedies to the forefront. The refugee crisis is in no way an exception. In fact, the conscience of the whole world in regard to the refugees was awakened by an appalling photograph of a three-year-old Syrian toddler, Aylan Kurdi, lying face-down into the sand. Such photographs, often symbolic and termed as visual rhetoric, slowly turned into stereotypes defining the refugee crisis. This paper discusses on how these visual narratives have shaped the identity of refugees and created various regimes of seeing.
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Veneti, Anastasia. "Aesthetics of protest: an examination of the photojournalistic approach to protest imagery." Visual Communication 16, no. 3 (June 26, 2017): 279–98. http://dx.doi.org/10.1177/1470357217701591.
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Images of protests and demonstrations are crucial to both social movements and protesters who wish to communicate their identity and their messages to wider audiences. However, the photographing of such political events by press photographers is a complex process. The current analysis focuses on questions of aesthetics surrounding issues of visuality regarding protests and demonstrations. Based on empirical data from 17 semi-structured in-depth interviews with Greek photojournalists, this article examines what is photographed during a protest and how this is affected by the photojournalists’ aesthetic criteria. Drawing on scholarly work on photojournalism (Ritchin and Åker) and photography (Sontag), the author discusses how, in addition to the presumption of the principle of recording reality, photojournalists’ practice is also infused with subjective language and influenced by art photographers’ techniques. Therefore, the main argument of this article is that the employment of hybridized photography practices by photojournalists can have an impact upon their visual decisions with regard to what and how is photographed during a protest. The product of such practices is usually high quality, captivating images with apparent affective qualities.
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Lee, Anthony W. "In the Opium Den." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 172–76. http://dx.doi.org/10.1632/pmla.2010.125.1.172.
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Among other things, photographs are deposits of social relations. To put it another way, they are social relations temporarily hardened into images—figured, captured, frozen. The most obvious of those relations, that between the photographer and the sitter, has been a regular subject of inquiry for art history. Acknowledging but leaving that kind of interest aside for the moment, we may explore other sorts of relations in and around a photograph and pursue a line of inquiry more in keeping with visual culture. Here's a quick example.
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Padfield, Deborah. "‘Representing’ the pain of others." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 15, no. 3 (May 2011): 241–57. http://dx.doi.org/10.1177/1363459310397974.
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This article argues that visual images, particularly photographs, can provide an alternative visual language to communicate pain. It suggests that selected photographs of pain placed between clinician and patient can help trigger a more collaborative approach to dialogue within the consulting room. The participatory roles of artist and clinician as well as patient in the co-construction of meaning and narrative are acknowledged. Comparing images from two projects, Perceptions of Pain and face2face, the article uses Barthes’ distinction between a ‘denoted’ and ‘connoted’ message to suggest the possibility of an underlying generic iconography for pain. By drawing on selected images and audio recordings from both projects, the article demonstrates how visual images re-invigorate verbal language and vice versa. It highlights how, in placing a photograph between two people, meaning is created within a social context as much as via the configuration of signs within the photographic surface. It is suggested that a resource of pain images, such as that created in both the projects described here, could be a valuable communication tool for use in NHS pain clinics.
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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.
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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.
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Gal, Nissim. "The Language of the Poor: Bible Stories as a Critical Narrative of the Present." IMAGES 4, no. 1 (2010): 82–108. http://dx.doi.org/10.1163/187180010x547657.
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AbstractThe series of photographs called Bible Stories (2003-2006), made by the photographer Adi Nes, offers a visual interpretation of the biblical narrative as a source for a critical reflection on contemporary culture. The Bible Stories series uncovers the aesthetic, ethical and social codes of the current visual culture. Nes processes the biblical text and rereads it via photography. The renewed appearance of the bible stories connects contemporary photorealism with the tradition of biblical illustration. The contemporary appearance and interpretative recomposition of the biblical episodes invert the hierarchies exemplified in some of the stories, and restructure the apparent gender relations, opening up a way to societal Others in the present, and conscripting the transcendent status of the text in order to criticize contemporary culture through the creative act.
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Socolovsky, Maya. "The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien." PMLA/Publications of the Modern Language Association of America 117, no. 2 (March 2002): 252–64. http://dx.doi.org/10.1632/003081202x61980.
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Cuban American literature and Oscar Hijuelos's texts in particular have generally been approached through a consideration of their material, multicultural aspects. This essay analyzes Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien, on which there is little critical work, by combining the novel's descriptions of photography and immigrant experiences with theories of photography. My reading considers the placing of ghosts and memory in the narrative and problematizes the undialectical presence of death in it. Referring to Hijuelos's text as an “imagetext” (photographs exist in it only through descriptions, never appearing visually), I read it through Roland Barthes's Camera Lucida and his development of the wounding punctum of a photograph, which produces a melancholy lingering trace of the past in the present moment. In this reading, the immigration experience in Hijuelos's novel exceeds narrativization and is unrepresentable by it.
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Cruzeiro, Cristina Pratas. "The image of the dictatorship in perspective: the photographs from Fernando Lemos between 1949 and 1954." PORTO ARTE: Revista de Artes Visuais 22, no. 36 (December 30, 2017): 63. http://dx.doi.org/10.22456/2179-8001.80110.
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From the photographic productions from Fernando Lemos between 1949 and 1952 in Portugal and between 1953 and 1954 in Brazil, this article aims to reflect on the imagery carried out by the artist when he left Portugal in face of the one produced in Brazil in the years immediately posthumous to his arrival. Fernando Lemos left for Brazil in 1953, exhibiting his work at the Museum of Modern Art of São Paulo and, in 1954, at the Museum of Modern Art of Rio de Janeiro – where he showcased part of the extensive photographic production he produced in Portugal. The imagery language of these photographs – the construction of space, luminosity, overlays, etc. – demonstrates a harmony with surrealism and the artistic use of photography. But in them are also imprinted the different rhythms of life and quotidian. The fact that the artist focuses his production on the portrait, makes it the best referent to allows us to understand the impact that the migration caused in his life and in his artistic work.
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Tomanić Trivundža, Ilija, and Robert Hariman. "Photography as a Small Language: Interview with Robert Hariman." Grimace, Vol. 2, no. 1 (2017): 10–13. http://dx.doi.org/10.47659/m2.010.int.
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In the interview, Robert Hariman talks about his latest co-authored book The Public Image: Photography and Civic Spectatorship (University of Chicago Press, 2016), presenting the main argument that they put forward with John Louis Lucaites – that a paradigm shift is needed within the field of photographic theory in order to understand the changing social role of photography in contemporary societies. They argue for a redefinition of the medium’s “burden of representation”, embracing its limitations and treating it as a “small language”, firmly embedded within the notion of the vernacular. This move beyond simple politics of representation, he argues, should however not be apolitical. In fact, the paradigm shift is needed to re-politicise photography and therefore increase its political efficacy in the wake of unsustainability of the dominant neoliberal socio-economic order and the specific catastrophic idea of progress which it promotes. Keywords: capitalism, grimace, modernity, photography theory, progress, Robert Hariman
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Marini, Candela. "War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)." Fotocinema. Revista científica de cine y fotografía, no. 22 (January 25, 2021): 49–74. http://dx.doi.org/10.24310/fotocinema.2021.vi22.11650.
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In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.
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Aldea Hernández, María José, and Iñaki Bergera. "Miradas exploratorias. Fotografías inéditas del viaje a Italia de Asís Cabrero." VLC arquitectura. Research Journal 4, no. 1 (April 26, 2017): 31. http://dx.doi.org/10.4995/vlc.2017.7011.
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<p><em>As was the case in not just a few of his contemporaries, Francisco Cabrero's modern advent is centred on his initial trip, in this case the one made to Italy in 1941. The historiography of Spanish architecture in general and the specific studies on the architect have shown the impact and the scope of this two-month trip on his later career. Fleeing the ruling academicism in Spain, Cabrero 'discovers' in Italy the rationalist and abstract expression of monumentality. Nevertheless, the access to a wide photographic reportage —unpublished up to now— accomplished by the architect during the trip, allows us to document his journey but also to put in to question those claims. The photographs introduce us for the first time to Cabrero the photographer —to his particular way of constructing an image— and as a result they pave the way for the recognition of this visual tool as an exploratory instrument of the gaze to the detriment of the pencil and notebook. Above all and paradoxically, they contradict the supposed fascination for modern language in Cabrero since discovering that historical architecture was almost the only objective of his selective photographic look and as a result, the primary source, of his transforming inspiration.</em></p>
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Aziz, Abdul, John Felix, and Candy Reggi Sonia. "PRESERVASI VISUAL JARAN KEPANG TEMANGGUNG MELALUI FOTOGRAFI ESSAY." Capture : Jurnal Seni Media Rekam 10, no. 1 (January 15, 2019): 75. http://dx.doi.org/10.33153/capture.v10i1.2208.
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<p><em>The Jaran Kepang Temanggung is a part of cultural products and was developed on the island of Java. The researcher seeks to raise the traditional art of Jaran Kepang Temanggung as research material presenting the topic of the problems related to the visual preservation of the Jaran Kepang Temanggung. It is an effort to preserve Jaran Kepang Temanggung's traditional arts through visual media, especially photography. The researcher will document the art through photographic means. The purpose of this study is how to make a photographic work as an effort to preserve Jaran Kepang's cultural art with journalistic documentation in the form of photographic essays. The research model used in this study is to use visual methodology, since the elements used in this study are visual photography. And it will be analyzed with the semiotic theory of Roland Barthes, where the power of photography is the power of the visual language that will speak. The results of this study are that photography is able to be a good means of documentation by presenting meaningful images.</em></p><p><em> </em></p><p><strong><em>Keywords: </em></strong><em>Preservation, jaran kepang, essay photography</em></p>
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Protschky, Susie. "Burdens of Proof." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 176, no. 2-3 (June 11, 2020): 240–78. http://dx.doi.org/10.1163/22134379-bja10015.
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Abstract There is but a limited scholarship on photographic sources from the Dutch military actions during the Revolusi Nasional Indonesia (Indonesian National Revolution) (1945–1949), and what exists almost entirely neglects perhaps the largest component of the archives: Dutch soldiers’ amateur photographs. Yet this category of photographs has simultaneously attracted much public and media controversy. This article contends that a narrow range of soldiers’ amateur photographs have thus far borne an anomalously weighty burden of proof to substantiate the nature and limits of extreme violence during the National Revolution, one that is brittle and difficult to sustain unless historians begin to broaden the focus of investigations into photographic archives. This article also investigates what it may mean for present-day Indonesians to see their ancestors as perpetrators as well as victims of violence and, importantly, as occupants of the ambiguous categories between both ends of this spectrum. What are the ethics of looking at and reproducing these photographs, and to whom do they belong?
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Nachtergael, Magali. "La Photographie plasticienne: une question française?" Nottingham French Studies 53, no. 2 (July 2014): 139–54. http://dx.doi.org/10.3366/nfs.2014.0082.
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En France, le débat théorique sur les frontières entre art et photographie a connu son point culminant au début des années 1980 et s'est cristallisé à l'occasion de l'exposition Ils se disent peintres, ils se disent photographes… au Musée d'art moderne de la ville de Paris. Lorsque la philosophe et critique Dominique Baqué suggère la notion de « photographie plasticienne » une décennie plus tard pour concilier des pratiques hybrides, elle rencontre l'opposition d'une partie des historiens de la photographie qui tentaient pour leur part de légitimer la photographie en tant qu'art à travers les principes modernistes de l'esthétique picturale. Mais les pratiques et usages de la photographie par les artistes contemporains mettent en œuvre une évidente plasticité du médium qui brouille les anciennes catégories formelles de l'art. Cette reconfiguration conduit également à réévaluer la nature même de la photographie, à l'aune d'une multiplicité formelle et contextuelle qui s'inscrit à l’ère numérique dans une économie esthétique globale.
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Smith, Olga. "The Spaces of Containment: Valérie Jouve's Urban Portraits." Nottingham French Studies 53, no. 2 (July 2014): 155–68. http://dx.doi.org/10.3366/nfs.2014.0083.
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This article analyses the complex dynamics between the human body and the urban environment in the work of French photographer Valérie Jouve. Focussing on a number of works drawn from the series Les Personnages and Les Façades, I propose the notion of containment to be crucial to the study of Jouve's urban portraits. I first approach it as a matter of containment of the human body by the civic and architectural structures of the city, arguing that Jouve renders visible the usually hidden mechanisms of such containment. This leads me to consider the question of boundaries and the relationship of the urban centre to its periphery, which, in the context of France, is bound up with narratives of social stratification. In the final part of the article I consider Jouve's photography as the space of representation, contained by the photographic frame, with theoretical discourse on the tableau providing the main analytical framework.
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Oushakine, Serguei Alex. "Presence Without Identification: Vicarious Photography and Postcolonial Figuration in Belarus." October 164 (May 2018): 49–88. http://dx.doi.org/10.1162/octo_a_00323.
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This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the 1980s and 1990s. Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselves from Soviet practices of photographic recording. Appropriating conventions of the portrait genre, the Minsk photographers used them to create a stream of obfuscated representations in which individuals are presented devoid of their originary contexts, biographies, and, frequently, faces. Through their de-facing tactics, these photographers visualized forms of indirect postcolonial presence. Erasing subjectivity and abstracting imprints of lived experience, their vicarious photography articulates a model of dealing with history that allows presence without identity or identification.
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Young, Alys, Lorenzo Ferrarini, Andrew Irving, Claudine Storbeck, Robyn Swannack, Alexandra Tomkins, and Shirley Wilson. "‘The world is full of magic things, patiently waiting for our senses to grow sharper’ (WB Yeats): enhancing resilience among deaf young people in South Africa through photography and filmmaking." Medical Humanities 45, no. 4 (December 2019): 416–27. http://dx.doi.org/10.1136/medhum-2019-011661.
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This article concerns deaf children and young people living in South Africa who are South African Sign Language users and who participated in an interdisciplinary research project using the medium of teaching film and photography with the goal of enhancing resilience. Specifically, this paper explores three questions that emerged from the deaf young people’s experience and involvement with the project: (i) What is disclosed about deaf young people’s worldmaking through the filmic and photographic modality? (ii) What specific impacts do deaf young people’s ontologically visual habitations of the world have on the production of their film/photographic works? (iii) How does deaf young people’s visual, embodied praxis through film and photography enable resilience? The presentation of findings and related theoretical discussion is organised around three key themes: (i) ‘writing’ into reality through photographic practice, (ii) filmmaking as embodied emotional praxis and (iii) enhancing resilience through visual methodologies. The discussion is interspersed with examples of the young people’s own work.
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Rosdiana, Rosdiana, Denny Kurniadi, and Asrul Huda. "REKAYASA SISTEM INFORMASI PROMOSI DAN PENGELOLAAN JASA STUDIO FOTO BERBASIS WEB." Voteteknika (Vocational Teknik Elektronika dan Informatika) 7, no. 2 (June 1, 2019): 20. http://dx.doi.org/10.24036/voteteknika.v7i2.104068.
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The information system appear give support and advantages in all areas of life. One of them is on economic. Photo studio is a part of economic field. Photo studio that offer photography and video recording service have a broad target market. Photo studio still use manual system and have not utilized the information system optimally in promote and manage it system that can causes many problems. For example, the problem in inform service packages, problem in booking that has impact to report. The purpose of information system is to minimize mistakes and optimize the promotion that offer by provider photograph services (photo studio, photographer and freelance videographer). Show detail information such as : portfolio and art gallery. So, customers can order easily. Information system also can give order report in periodic time for provider services. Information systems designed by waterfall method. Developed with php language, laravel framework and Mysql database.Keywords : Information systems, Photo Studio, Management, Laravel Framework.
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Djukić, Emina, and Ana Peraica. "Studio Portraiture as a Construct: Interview with Ana Peraica." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 14–17. http://dx.doi.org/10.47659/m5.014.int.
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Dr. Ana Peraica was born into a family of photographers. Her grandfather, as well as her father after him, run a family photo studio Atelier Perajica on the main square of Diocletian’s palace in Split, Croatia. The studio went into Ana’s hands, and she still works there herself today. Besides running the business, her main focus is photographic theory, more precise the field of contemporary arts, visual culture studies and media theory. It is very thought- provoking to see how her background and studio practice influenced her research and vice versa. In her writings she focuses on networked society, strategies of anonymity and pseudonymity, parallel hyper-narratives etc. She currently works on her new book Postdigital Arcadia in which she focuses on changes in the post digital photography (eg. aerial images and 360 images), and reflects upon the changes brought about by new visual language on our perception of reality. We spoke also about her last published book The Culture of the Selfie, an important survey on this particular contemporary phenomenon. Keywords: background, photographic backdrop, photography, selfie, studio photography
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Sideri, Eleni. "Looking for the 'Language' of Recognition among Greek Communities of Georgia." Anthropological Journal of European Cultures 21, no. 1 (March 1, 2012): 41–59. http://dx.doi.org/10.3167/ajec.2012.210104.
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The Caucasus was a zone of encounters for centuries, generating images of regional cosmopolitanism in the past. This vision creates expectations for the present, when it is included in the wider discussion about the meanings of cosmopolitanism today, its relation to modern geopolitics, and issues of social and political co-existence and recognition. This essay focuses on two different photographs that belong to different Greek families in Georgia. These photographs represent two different historical experiences of migration and pinpoint different understandings of cosmopolitanism. However, they both seem to stem from specific discourses about diasporas and their cosmopolitan character. The role of language in the construction of these discourses is fundamental. The essay compares photographic representations of the 'Greek Diaspora' in order to trace the perceptions of cosmopolitanism they generate, the cultural capital they carry, and its outcome in relation to Greek diaspora politics.
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Yi, Feng. "Shop Signs and Visual Culture in Republican Beijing." European Journal of East Asian Studies 6, no. 1 (2007): 103–28. http://dx.doi.org/10.1163/157006107x197682.
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AbstractDuring her stay in Beijing (1933–1946), Hedda Hammer (later known as Hedda Morrison) made a visual record of shop signs with her camera. In this paper I rely on this visual record to examine what shop signs represented in Chinese material culture and their function in the urban setting. I argue that Morrison's photographic record reveals a fascinating element of street culture in the capital city that the textual records cannot document. I also contend that shop signs worked as genuine urban markers of the various trades and crafts in the city. As such, these artefacts constituted an expression of Chinese material culture, but were also a form of visual language to guide the gaze and pace of Beijing urbanites. This paper supports the idea that photographs have a particular relevance and value for the exploration of the Chinese urban setting in the Republican period. The use of photography goes beyond the record of disincarnated artefacts. It allows us to perceive and understand a fascinating dimension of visual culture in Republican Beijing, one of the numerous layers of signs that were displayed quite extensively through the city.
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Yacavone, Kathrin. "The Cultural Institutionalization of Photography in France: A Brief History." Nottingham French Studies 53, no. 2 (July 2014): 122–35. http://dx.doi.org/10.3366/nfs.2014.0080.
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This article provides a historical overview of the cultural institutionalization of photography in France, with a particular focus on the pioneering initiatives of individual photography enthusiasts throughout the 1970s to promote photographic culture. These efforts were roughly simultaneous with changes in acquisition and exhibition practices on the part of fine art museums and collections with respect to photography, in response to an increasing world-wide recognition of its status as an art form. The article explains how, despite the promotion of photography as a French invention and a contribution to culture (as early as its inception in 1839), an active cultural politics of photography did not emerge until the early to mid-1980s and was an opportune reaction to, and institutionalized framing of, ground-level cultural developments already underway.
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Mariz, Anna Carla Almeida, Armando Malheiro da Silva, and Rosa Inês de Novais Cordeiro. "As fotografias nos arquivos pessoais e familiares: para uma revisão teórica." Páginas a&b : Arquivos & Bibliotecas, no. 14 (2020): 74–90. http://dx.doi.org/10.21747/21836671/pag14a6.
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Research about personal and family archives that was developed based on the literature published in Portuguese language and on technical visits carried out in December 2019 at the Archive and Library of the Eugénio de Almeida Foundation, in Évora, and at the Photographic Documentation Archive of the General Directorate of Cultural Heritage, in Lisbon, with the objective of verifying how the archival processing of photographs presents itself in this panorama. It seeks to examine how the authors conceptualize personal and family archives and how is the photographs presentation in these archives. It was found that there is no consensus among the authors on the terminology used in this area and that, although photographs are present in most personal archives, the literature in the area does not reflect this reality.
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Sousa, Fábio D’Abadia de. "POEMAS E FOTOGRAFIAS NA BUSCA PELO ETERNO." Revista Observatório 2, no. 5 (December 25, 2016): 510. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n5p510.
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As possíveis semelhanças entre a poesia e a fotografia é o que analisamos neste texto. A partir da obra do modernista Oswald de Andrade, discutimos alguns elementos de aproximação entre a visualidade fotográfica e a imagem poética. Defendemos que parte da poesia oswaldiana - na qual predomina uma linguagem clara, direta, simples, sem adornos e que apresenta uma visualidade explícita - passa a impressão de que o poeta tenta colocar para o leitor cenas que se assemelham a fotografias.
PALAVRAS-CHAVE: Poesia; modernismo; fotografia.
ABSTRACT
The possible similarities between poetry and photography is what we analyze in this text. From the work of the modernist Oswald de Andrade, we discussed some elements of approximation between the photographic visuality and the poetic image. We argue that part of Oswald's poetry - in which clear, direct, simple, unadorned language and explicit visuality predominates - gives the impression that the poet tries to put scenes that resemble photographs to the reader.
KEYWORDS: Poetry; modernism; photography.
RESUMEN
Las posibles similitudes entre la poesía y la fotografía es lo que se analiza en este texto. Desde el modernista obra de Oswald de Andrade, se discuten algunos elementos de enfoque entre la imagen visual y poética fotográfica. Se argumenta que parte de la poesía Oswaldian - en la que predomina un lenguaje claro, directo, sencillo, sin adornos y tiene una visualidad explícita - da la impresión de que el poeta trata de poner las escenas de lectores que se asemejan a las fotografías.
PALAVRAS CLAVE: Poesía; modernismo; la fotografía.
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Valentino, Mary Ann, James W. Brown, and W. A. Cronan-Hillix. "Aesthetic Preference and Lateral Dominance." Perceptual and Motor Skills 67, no. 2 (October 1988): 555–61. http://dx.doi.org/10.2466/pms.1988.67.2.555.
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Aesthetic preferences for photographs with the main focal content either to the left or right of the photograph's center were examined in right- and left-handed subjects. Verbal responses or manual responses were required. In one experiment with 261 introductory psychology student-subjects, left-handers more often preferred photographs with the more important part on the left (“left-geared”) than did right-handers. Exp. 2, involving 84 right-handed student subjects, showed that left-geared photographs presented on the left side were preferred more often than left-geared photographs presented on the right side, and left-geared photographs presented on the left side were more often chosen when a left-handed manual response was required. Interactions between handedness, position of the stimulus, language hemisphere, and response mode make it extremely difficult to ascertain whether the right hemisphere is really more involved in aesthetic decisions.
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Villeneuve, Rodrigue. "Langages concrets (Une photographie du Rail)." Études littéraires 18, no. 3 (1985): 181. http://dx.doi.org/10.7202/500725ar.
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Colner, Miha. "Dark Premonitions of the Anthropocene Era: Peter Koštrun, Photographer and Visual Artist." Grimace, Vol. 2, no. 1 (2017): 42–47. http://dx.doi.org/10.47659/m2.042.rev.
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Although the interpretations of Koštrun’s works and his entire opus are undeniably multifaceted and open to different interpretations and readings, the article suggests that all his word does share a common meditative stillness and sense of solitariness. Peter Koštrun’s opus lingers on the intersection of pristine nature and cultural landscape, on the intersection of the impact of humans on the environment and the insignificance of the individual in relation to nature. Even if Koštrun’s photographic motifs allude to archaism and romanticism, and are at first glance connected to the tradition of photographic pictorialism, they are in their essence distinctly modern, attached to the reality of the here and now. His expression is completely non-narrative in the classic sense of photographic representation, as the images do not tell a linear story, but are dedicated to visual language, which is (as opposed to the written word) always ambivalent and layered. Keywords: Anthropocene, landscape, melancholy, mortality, nature photography
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Thoutenhoofd, E. "Method in a Photographic Enquiry of being Deaf." Sociological Research Online 3, no. 2 (June 1998): 37–48. http://dx.doi.org/10.5153/sro.173.
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What follows is based on the hypothesis that aspects of a particular, socially and culturally distinct, visuality [1] are manifest in visual data such as photographs. I will explore this hypothesis with reference to Deaf people, people who use sign language and who are members of the Deaf community, using data from earlier research (Thoutenhoofd, 1996). To this end, I have opted for two parallel texts, a photographic one as well as a written one, cross-referenced by hyperlinks. The photographs form the core, or the ‘evidence’ of the method outlined in the text. The photographs portray a number of pertinent visual characteristics and strategies found where Deaf people congregate into clearly defined communities, for example Deaf clubs, d/Deaf colleges, and in the pages of magazines aimed at d/Deaf audiences; yet the photographs bear witness to the commonplace, portraying regular Deaf club and Deaf college activities. In the process of discussing the reasons for taking the photographs and having photographs taken, I set out to describe what is meant by a ‘Deaf visuality’, and to suggest its relevance to research into deafness and being d/Deaf.
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Okura, Yutaka, Robert C. Ziller, and Hiroshi Osawa. "The Psychological Niche of Older Japanese and Americans through Auto-Photography: Aging and the Search for Peace." International Journal of Aging and Human Development 22, no. 4 (June 1986): 247–59. http://dx.doi.org/10.2190/2wh1-k0a1-6tbw-99q5.
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In an effort to understand aging cross-culturally, photography as a universal language was used to perceive the perceiver. Persons averaging seventy-three years of age from Japan and the United States were asked to describe “Who are you?” by taking (or having someone else take) six photographs. A content analysis of the photographs showed that older Japanese appear to be inward oriented (inside own territory, gardens, residence) and aesthetically oriented, while older Americans were more oriented toward other people. The results were interpreted in terms of differences in the search for peace. Peace is sought through self-harmony in the orient, but through social harmony in the Occident.
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Robledano-Arillo, Jesús, Diego Navarro-Bonilla, and Julio Cerdá-Díaz. "Application of Linked Open Data to the coding and dissemination of Spanish Civil War photographic archives." Journal of Documentation 76, no. 1 (October 8, 2019): 67–95. http://dx.doi.org/10.1108/jd-06-2019-0112.
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Purpose The purpose of this paper is to present a conceptual model for coding and dissemination of data associated with historical photographic archives. The model is based on Linked Open Data technology and seeks to exhaustively represent the most relevant characteristics for the tasks of contextualization of the documentary groupings and units, management, document retrieval, dissemination and sharing of data about the historical photographs. Design/methodology/approach An OWL ontology, called Ontophoto, was constructed following an adaptation of the methodology proposed by Uschold and Gruninger and Gruninger and Fox. The ontology was implemented using Protégé 5.5 software. Next a Graph DB® graph database application (Ontotext) was created to generate a query system based on the SPARQL language. To validate the consistency and effectiveness of the model and ontology, a competency questions methodology has been applied using a sample from the Skogler photographic archive. Findings The model facilitates the generation of systems for dissemination and retrieval of iconographic data for historical research, overcoming some of the limitations with respect to the design of methods of content and contextual information representation for heritage photographic archives. Research limitations/implications This study is based on a sample. Future work should consider the implementation of the model on the totality of a photographic collection. Originality/value This paper presents a comprehensive ontological model that allows the creation of distributed systems of knowledge representation, which can be queried through SPARQL language.
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Coswosk, Jânderson Albino. "Educational Practices on Ethnic-racial Relations and the English Language Teaching through Image and Literature in an EFL Classroom." International Journal of English and Cultural Studies 3, no. 1 (April 20, 2020): 15. http://dx.doi.org/10.11114/ijecs.v3i1.4800.
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The article analyzes the unfoldings of the teaching project Introducing Literatures in English, held in 2018 at the Federal Institute of Espírito Santo (IFES), based in Alegre-ES, Brazil. The project aimed at promoting the improvement of reading, writing and speaking skills of English as a foreign language (EFL) learners, departing from African Literature in English and photography, so that they had the opportunity to improve their language skills while developing a broader discussion on Africa’s ethnic-cultural and linguistic diversity, building a viewpoint about the African continent less tied to colonialism, slavery, apartheid and victimization.For reading and written analyses, the students took into consideration the photo-book Another Africa (1998), with photographs by Robert Lyons and poems by Chinua Achebe (1930-2013). Based on the poems and photographs brought to light in Another Africa, I analyzed 1) the students’ multimodal reading process, by connecting images generated by poems and photographs and written and oral texts the students produced around them; 2) the students’ reception of the poems, considering Achebe’s constant use of code-switching and 3) the construction of new viewpoints around Africa elaborated by the students, bearing in mind the importance of the role of language, memory and history, oral and literary traditions when it comes to African writers and a new perspective concerning the colonial legacy and its impact on English language.
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Sandeen, Eric J. "The Family of Manat the Museum of Modern Art: The Power of the Image in 1950s America." Prospects 11 (October 1986): 367–91. http://dx.doi.org/10.1017/s0361233300005445.
Full textAbstract:
The family of man was an important cultural event of the 1950s. This great photographic exhibition, which drew record crowds at the Museum of Modern Art and attracted over 9,000,000 people on its sixyear, world-wide tour, was the work of Edward Steichen, who saw the opportunity for a retrospective on the history of photography as well as a comment on the perils of modern-day society. The exhibition took on a life of its own. It surpassed in popularity even the optimistic prediction of Steichen and defied the bland skepticism of other departments within the Museum. Museum workers received their first bonus because of its success. Popular magazines and newspapers from all over the world saw in the exhibition a penetratingly simple statement about the first decade of the nuclear age, and millions of people became acquainted with a photographic language to which they had not been exposed before.