Relevant bibliographies by topics / Visual Culture Studies

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Visual Culture Studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 April 2022

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Journal articles on the topic "Visual Culture Studies"

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Walker, John A. "Visual Culture and Visual Culture Studies." Art Book 5, no. 1 (January 1998): 14–16. http://dx.doi.org/10.1111/1467-8357.00071.

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Smith, Ralph A. "Introduction: Visual Culture Studies." Arts Education Policy Review 105, no. 6 (July 2004): 3–4. http://dx.doi.org/10.3200/aepr.105.6.3-4.

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Grønstad, Asbjørn, and Øyvind Vågnes. "Now! Visual Culture: The International Association of Visual Culture Studies." Ekfrase 3, no. 02 (November 5, 2012): 112–31. http://dx.doi.org/10.18261/issn1891-5760-2012-02-05.

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Koontz, Rex. "VISUAL CULTURE STUDIES IN MESOAMERICA." Ancient Mesoamerica 20, no. 2 (2009): 217–20. http://dx.doi.org/10.1017/s0956536109990046.

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AbstractThis essay surveys recent trends in studies of Mesoamerican visual culture. Visual culture is defined here as more than an inclusive art history. I outline a tradition of approaches and methods in visual culture studies, arguing that this tradition pays particular attention to the reception and use of objects, as well as to their place in ancient economies. Several current trends in Mesoamerican studies, especially Postclassic period world-systems approaches and Classic period Maya courtly studies, have been particularly fecund strategies for visual culture studies. Other major trends in the field include studies of the symbolism of architecture and urban planning as well as performance studies. The insistence on economic contexts, the desire to capture indigenous visualities, and the need to situate the visual experience in larger cultural phenomena all bode well for future interdisciplinary work in visual cultural studies.
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Smith, Ralph A. "Introduction: Visual Culture Studies, Part Two." Arts Education Policy Review 106, no. 1 (September 2004): 3–4. http://dx.doi.org/10.3200/aepr.106.1.3-4.

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Bauerlein, Mark. "The Burdens of Visual Culture Studies." Arts Education Policy Review 106, no. 1 (September 2004): 5–12. http://dx.doi.org/10.3200/aepr.106.1.5-12.

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Smith, Peter J. "Visual Culture Studies versus Art Education." Arts Education Policy Review 104, no. 4 (March 2003): 3–8. http://dx.doi.org/10.1080/10632910309600049.

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Noble, Andrea. "Visual Culture and Latin American Studies." CR: The New Centennial Review 4, no. 2 (2004): 219–38. http://dx.doi.org/10.1353/ncr.2005.0010.

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MICHELIS, A. "Art Histories and Visual Culture Studies." Year's Work in Critical and Cultural Theory 7, no. 1 (January 1, 1997): 218–37. http://dx.doi.org/10.1093/ywcct/7.1.218.

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MICHELIS, A. "Art Histories and Visual Culture Studies." Year's Work in Critical and Cultural Theory 8, no. 1 (January 1, 2001): 139–54. http://dx.doi.org/10.1093/ywcct/8.1.139.

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Dissertations / Theses on the topic "Visual Culture Studies"

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Decobecq, Isabelle. "Les visual studies : un champ indiscipliné." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30006.

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Voilà plus d'une génération que les visual studies ont entrepris de bousculer procédures scientifiques et organigrammes universitaires, dans le monde anglo-américain d’abord, puis à l’échelle planétaire. Jouant la porosité des champs du savoir, ce courant de recherches fonctionne à la manière d’une interface où s’échangent et se combinent les charges théoriques et critiques de l’histoire de l’art, du post-structuralisme, des études culturelles et autres area studies, offrant un lieu de convergence inédit pour des pensées dispersées. En embrassant l’imagerie démotique autant que savante, en déconstruisant l’axiologie tacite qui sous-tend de tels partages hiérarchiques, et en interrogeant l’idéologie de tout acte de connaissance, les visual studies assument depuis l’origine une position limite, entre discours savant, activité critique et engagement politique. S’ils peuvent apparaître comme une nouveauté radicale, les travaux groupés sous cette bannière sont symptomatiques d’un mouvement plus général de renouvellement des façons de penser les images et la dimension visuelle du sensible. Au moment où les visual studies bénéficient d’une première réception dans l’espace francophone, cette thèse s’attache à en restituer les fondements épistémologiques et les enjeux actuels, en montrant qu’elles ne forment pas un ensemble homogène d’approches ou de pratiques. Car non seulement il n’existe pas de visual studies « en général », mais ce terme unique recouvre trois niveaux de réalité sensiblement dissociés : une formation académique, une somme de travaux empiriques et théoriques, ainsi qu'un vaste métadiscours sur le champ qui nourrit sa propre mythologie. Par souci de clarté, le plan de la thèse désimbrique ces trois niveaux, et plutôt que de définir ce que sont les études visuelles, s’attache à expliquer ce qu’elles font. En se fondant sur l'étude suivie de textes précis, chacune des sections de la thèse envisage donc l'objet visual studies sous l'un de ses différents aspects : historique, théorique, académique, métathéorique, toutes cs dimensions étant coextensives de ce qui constitue les visual studies de façon globale
It's been more than a generation since visual studies started to shake up scientific procedures and academic organizational structures, in the Anglo-American world and on a global scale. Working between and across disciplines, this research trend behaves like an interface where art history, poststructuralism, cultural studies and other area studies can meet and combine their critical strengths. By embracing both demotic and scholarly imageries, laying bare the axiology underlying such divisions, and challenging the ideology pertaining to knowledge itself, visual studies take on many guises, either as a scientific discourse, a critical activity or a form of political commitment. However, though often claiming a form of radical novelty, visual studies’ concerns should rather be considered part of a broader shift in the study of the function of images and visuality in contemporary sciences and societies.As visual studies are starting to work their way in the french scientific landscape, this dissertation will expose their epistemological grounds and current stakes, calling attention to the fact that they do not cohere into a consistent set of shared approaches or practices. First, visual studies « in general » do not exist. Second, the term encompasses three aspects only partly overlapping : an academic formation, a body of empirical and theoretical works, and a thriving metadiscourse endlessly feeding the field’s self-mythology. For the sake of clarity, the dissertation will offer to break down these three components. What’s more, rather than trying to define what visual studies actually are, it endeavors to explain what they do. Mostly based on the close reading of a series of texts, each section of the dissertation hence offers to look at visual studies from a specific viewpoint — historical, theoretical, academic or metatheoretical — all aspects constitutive of visual studies as such
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Golubieski, Mary R. "Teaching for Visual Literacy: Critically Deconstructing the Visual Within a Democratic Education." Oxford, Ohio : Miami University, 2003. http://www.ohiolink.edu/etd/view.cgi?miami1050012957.

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Thesis (Ph. D.)--Miami University, Dept. of Educational Leadership, 2003.
Title from first page of PDF document. Document formatted into pages; contains xv, 316 p. Includes bibliographical references (p. 265-280).
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Habetzeder, Julia. "Evading Greek models : Three studies on Roman visual culture." Doctoral thesis, Stockholms universitet, Institutionen för arkeologi och antikens kultur, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-79421.

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For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture. The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes.

At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 3: Accepted.

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Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.

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Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.
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Ritter, Amy B. "My Body In Visual Culture." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398882692.

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Cochran, Shannon M. Phd. "Corporeal (isms): Race, Gender, and Corpulence Performativity in Visual and Narrative Cultures." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281917081.

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Healey, Luke Alexander Peter. "The art of football : visual culture and the beautiful game, 1992-2016." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/the-art-of-football-visual-culture-and-the-beautiful-game-19922016(b892732e-b218-4943-8f71-e12513446f1e).html.

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This thesis addresses relationships between art, aesthetics and men’s association football, and seeks to frame the latter as a source and locus of aesthetic variation and dissensus, in opposition to its typical presentation as a source of fleeting and purely physical pleasures. Its focus is the contemporary scene of global elite football, whose roots I argue can most effectively be traced back to the creation of the English Premier League and the UEFA Champions League in 1992. Through four chapters encompassing multiple case studies, I examine some of the aesthetic conceptions that are embedded within contemporary discourses around football, before analysing artworks and aesthetic practices that reproduce the game in various forms. Throughout the study, I am interested in bringing into focus the border-line between the cultural fields of art and football. I frame all of the objects, practices and artefacts that I analyse as sites of inter-section between these two rival sets of discursive formations, as well as offering theoretical and methodological reflections on the cultural dynamics that lead to these formations being considered as distinct fields in the first place. My principal research questions can be expressed as follows: what intellectual processes come into play when objects in the field of contemporary football approach the field of contemporary art and vice-versa, and what forces are active in each field that prevent this rapprochement from achieving total fulfilment?In order to approach these questions, my thesis is effectively divided into two halves. In the first half I use concepts derived from the study of art and visual cultures to bring to light some of the aesthetic debates that occur within football’s interpretative community. In chapter one I consider the manner in which aesthetics and sporting ethics become intertwined around the controversial issue of “diving”, while in chapter two I demonstrate the ways in which the animated highlight GIF holds in suspension notions of novelty, boredom and individual genius. In the second half of the thesis I analyse a number of artistic projects which address football – Douglas Gordon and Philippe Parreno’s film Zidane: a 21st Century Portrait, Maider López’s participatory performance Polder Cup and Craig Coulthard’s landscape intervention Forest Pitch, among others – by reading their aesthetic propositions against some of those that are rooted in the game itself. Addressing the functions that these works apply to the popular expressive content that already adheres to football can, I argue, be instructive in considering the cultural politics of contemporary art more generally. Finally, I conclude that contemporary football is a prominent site of complex aesthetic negotiations that warrants greater attention from the inter-discipline of visual studies.
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Barragán, Maite. "Mediating Modernity: Visual Culture and Class in Madrid, 1926-1936." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/455066.

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Art History
Ph.D.
This dissertation examines the differing responses to modernity in the visual culture of Madrid from 1926-1936. I trace the debates generated by the anticipation, apprehension, or expectations to the ongoing processes of modernization. My work is guided by the understanding that the metropolis is both a physical and psychological space, and that the resulting visual culture is imbued with those experiences of Madrid. Thus, the questions and concerns of the period are instilled in the visual arts, regardless if the city is explicitly represented in them or not. Although Madrid was not a model of industrialization, the city’s inhabitants acknowledged and reacted to the attempts to modernize the city as well as the ongoing political and social transformations. My study examines diverse media alongside the popular press of the period. By examining individual works of art alongside periodicals, my dissertation reveals the relationship between the thriving popular culture, the elite culture, and an emergent mass culture. In the first chapter, I introduce how these different kinds of culture have been defined, as well as Madrid’s current place within art historical scholarship. In the second chapter, I look at how the construction of the Gran Vía avenue was presented in the press to investigate the social effects of the reorganization of Madrid’s center. The third chapter analyzes the development of the public persona of writer Ramón Gómez de la Serna and how he used his image as an advertisement for modernity. In the fourth chapter, I examine the film Esencia de verbena, directed by Ernesto Giménez Caballero. The film pictured Madrid’s traditions but also invoked Surrealist aesthetics. By bringing together ideas of international modernity and local folklore Giménez Caballero showed how popular culture was a useful resource for the local avant-garde. In the final chapter, I focus on the sculpture of artist Alberto Sánchez to demonstrate how his seemingly depoliticized artworks actually engaged in a critical discourse about the economic and social conditions resulting from modernization. This dissertation challenge the current understanding of the distinctions between the popular, elite, and mass cultures in Spain. Such categories cannot fully express the complexity of the visual culture of Madrid in the 1920s and 1930s. Instead, I argue that Madrid’s inhabitants negotiated and mediated modernity by blurring the boundaries and exploring the interconnections between these different cultures.
Temple University--Theses
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Åsberg, Cecilia. "Looking at Science, Looking at You! : The Feminist Re-visions of Nature(Brain and Genes)." Linköpings universitet, Tema Genus, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-66375.

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Vision has often been a central concern of feminist studies of science, medicine and technology. In cultural or social feminist analysis, the male gaze and the ways in which technoscience accommodates, and in effect organizes the watching of women, has been an important part of the feminist interrogation of the gender and power relations that produce the subjects and the objects of science. This attention is due to the intimate, and power-saturated, merge of processes of seeing and processes of knowing. Inherent in the notion of vision, there is always a politics to ways of seeing, ordering and observing, of organising the knowledge of the world. Historically, this can be exemplified by the eighteen-century Swedish “father” of biological classification, Linnaeus. Taking a leap away from Christian assumptions, Linnaeus placed human beings in a taxonomic order of nature together with other animals.

ISBN 91-87792-49-4 not valid for this book.

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Tirak, Lita. "Radiant Exposure: The Art and Spectacle of the X-Rayed Body in American Visual Culture." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068400.

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Radiant Exposure analyzes how American painting, photography, cinema, and graphic design creatively visualized X-rays to represent the body under forms of invasive scrutiny. I will historicize a variety of works produced between 1895 and the present, which consist of actual X-ray photographs and artistic simulations of their visual effects. Visual culture scholars and art historians have identified the X-ray as an important development in modern experience, perception, and the visual arts, but they have situated the X-ray's aesthetic bearing in the first thirty years after Wilhelm Röntgen’s discovery of the X-ray. I argue that since their invention, X-rays have persisted in the realm of the corporeal spectacle, as a source of aesthetic captivation and a method of social control. My goals are to generate a new language for articulating the rich significance and specific influence of X-rays in American consciousness, through formal and historical analyses of visual culture that draw from X-rays' technological effects or appropriate them in different ways. More broadly, this project reveals how the subjectivity of American identity has projected onto the anonymous irradiated body in the visual arts, whether idealized or pathologized, made culturally visible or cloaked in invisibility. as Americans have become more transparent under modern surveillance, the X-rayed body in art and visual culture has become entangled with ideas about identity and power.
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Books on the topic "Visual Culture Studies"

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Wagner, Anne, and Richard K. Sherwin, eds. Law, Culture and Visual Studies. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-90-481-9322-6.

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Schirato, Tony. Reading the visual. Crows Nest, NSW: Allen & Unwin, 2004.

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Sarah, Chaplin, ed. Visual Culture: An Introduction. Manchester, UK: Manchester University Press, 1997.

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Hans, Wolbers, ed. New visual culture of modern Iran. West New York, N. J: Mark Batty Publisher, 2006.

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Abedini, Reza. New visual culture of modern Iran. Amsterdam: BIS Publishers, 2006.

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Moebius, Stephan. Kultur: Von den Cultural Studies bis zu den Visual Studies : eine Einführung. Bielefeld: Transcript, 2012.

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Laura, Wright, ed. Visual difference: Postcolonial studies and intercultural cinema. New York: Peter Lang, 2010.

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Visual communication and culture: Images in action. Don Mills, Ont: Oxford University Press, 2012.

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Representations of pain in art and visual culture. New York: Routledge, 2012.

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Visual culture and gender: Critical concepts in media and cultural studies. New York: Routledge, 2014.

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Book chapters on the topic "Visual Culture Studies"

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Volkenandt, Claus. "Visual Culture Studies." In Metzler Lexikon Kunstwissenschaft, 462–66. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00331-7_186.

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Pfisterer, Ulrich. "Visual Culture Studies." In Metzler Lexikon Kunstwissenschaft, 462–65. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04949-0_129.

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Thomas, Sophie. "Visual Culture." In A Handbook of Romanticism Studies, 87–103. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781444356038.ch5.

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Withers, Benjamin C. "Visual Culture." In A Handbook of Anglo-Saxon Studies, 251–64. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118328828.ch16.

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Raw, Laurence. "What Can Adaptation Studies Learn from Fan Studies?" In Adaptation in Visual Culture, 21–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58580-2_2.

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Kleege, Georgina. "Blindness and Visual Culture." In The Disability Studies Reader, 367–75. 6th ed. 6th edition. | New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003082583-35.

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Marcus, Laura. "Modernism and Visual Culture." In A Handbook of Modernism Studies, 239–54. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118488638.ch14.

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Petroski, Karen. "Visual Legal Commentary." In Law, Culture and Visual Studies, 671–96. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-9322-6_30.

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Feigenson, Neal. "Visual Common Sense." In Law, Culture and Visual Studies, 105–24. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-9322-6_5.

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Horníčková, Kateřina, and Michal Šroněk. "Visual Culture of the Bohemian Reformation." In Medieval Church Studies, 1–6. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mcs-eb.5.110898.

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Conference papers on the topic "Visual Culture Studies"

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Левицька, М. К. "Вивчення релігійного мистецтва у світлі методів visual culture studies." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-9.

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Bartosh, Natalia Yu. "The Image of Don Quixote in Russian Book Illustration of the 20th and 21st Centuries. Visual Canon / Stereotype." In Spain: Comparative Studies oт History and Culture. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1247-5-18-25.

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Yun, YeoHeung, Zhongyun Dong, Dianer Yang, Vesselin Shanov, Zhigang Xu, Charles Sfeir, Amos Doepke, and Mark Schulz. "Biodegradable Mg for Bone Implants: Corrosion and Osteoblast Culture Studies." In ASME 2008 International Mechanical Engineering Congress and Exposition. ASMEDC, 2008. http://dx.doi.org/10.1115/imece2008-69224.

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Corrosion and cell culture experiments were performed to evaluate magnesium (Mg) as a possible biodegradable implant material. The corrosion current and potential of a Mg disk were measured in different physiological solutions. The corrosion currents in cell culture media were found to be higher than in deionized water, which verifies that corrosion of Mg occurs faster in chloride solution. Weight loss, open-circuit potential, and electrochemical impedance spectroscopy measurements were also performed. The Mg specimens were also characterized using an environmental scanning electron microscope and energy-dispersive x-ray analysis (EDAX). The x-ray analysis showed that in the cell culture media a passive interfacial layer containing oxygen, chloride, phosphate, and potassium formed on the samples. U2OS cells were then co-cultured with a Mg specimen for up to one week. Based on visual observation, cell growth and function were not significantly altered by the presence of the corroding Mg sample. These initial results indicate that Mg may be suitable as a biodegradable implant material. Future work will develop small sensors to investigate interfacial biocompatibility of Mg implants.
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Silva, Camila Assis Peres, and Clice de Toledo Sanjar Mazzilli. "The colors of the smells: the influence of culture and society in the visual design of packaging of perfume." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0051.

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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Uçak, Olcay. "Towards a Single Culture in Cross-Cultural Communication: Digital Culture." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.007.

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Culture is a multifaceted, complex process which consists of knowledge, art, morals, customs, skills and habits. Based on this point of view of Tylor, we can say that the culture is the human in the society, his learning styles and the technical or artistic products that originate from these learning styles, in other words, the content. In antropology it is argued that when the concept of culture is considered as a component in a social system, the combination of the social and cultural areas form the socio-cultural system. Approaches that handle culture within the socio-cultural system are functionalism (Malinowski), structural-functionalism (Radliffe-Brown), historical-extensionist (Kluckhohn, Krober), environmental adaptive (White), while the approaches that treat culture as a system of thought are cognitive (Goodenough), structural (Levi Strauss) and symbolic (Geertz) approaches. In addition to these approaches that evaluate cultures specific to communities, another definition is made according to the learning time: Margeret Mead, Cofigurative Culture. In order to evaluate today’s societies in terms of culture, we are observing a new culture which has cofigurative features under the influence of convergent technologies (mobile, cloud technology, robots, virtual reality): Digital Culture. This study aims to discuss the characteristics of the digital culture, which is observed after the theoretic approaches that define different cultures in cross-cultural communication (Hofstede’s Cultural Dimension and Cofigurative Culture) and called as network society by Manual Castells and accelerated during the Covid19 pandemic, in other words the common communication culture. Common cultural features will be studied through methods of semiology and text analysis upon digital contents which are starting to take hold of cross-cultural communication, a comparison between cross-cultural communication and communicative ecology will be made, the alteration in the cultural features of the society will be examined via visual and written findings obtained.
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Dang Thi Dieu, Trang. "Modern Folk poetry (Ca Dao): A Form of Folklore Linguistic Composition on the Internet." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-2.

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The context of globalization along with the development of electronic media has opened a new era for folklore in general as well as forms of linguistic composition of folk literature in particular. In addition to the form of composing and keeping media documents in the traditional way, the Internet explosion has dominated the main spaces of communal life and has gradually changed the mode of human interaction. Cyber space is considered as a tool to convey traditional values, to create many new cultural activities, and to be a place to circulate folk cultural works in contemporary society, in which folk poetry (Ca dao) is one. Modern folk poetry studies are still a controversial issue in academic circles in Vietnam, but with the dominance of today's Internet communication technology, the emergence of lyrics rhymes circulated on the Internet is a remarkable and inevitable phenomenon in the context of development of various forms of "reformed", "processing", "parody" lyrics, songs, poems according to the direction of humor and entertainment rather than focusing on aesthetics and art. From a linguistic cultural approach, this article aims to discuss modern folk poetry on such issues as: Why did such folk poetry come about? How would we circulate or share this poetry on the Internet and to approach folk culture in an era of dominance of visual culture (TV, video, film, photography) and Online culture; how does socio-economic change on modern folk poetry impact on the Internet in terms of thinking innovatively, and how does it tend to break traditional cognitive structures due to the diverse forms of reflection and reality in modern society?
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Edy, Ariska, Muhammad Hasyim, and Meta Astuti. "The Comparison of Visual Appearance between Sawerigading and Hikaru Genji: Symbolism of The Buginese-Japanese Masculinity in Folklor Reconstruction." In Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296709.

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Cosentino, Anna Carolina. "Libertarian artistic teaching. A counter-pedagogy?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.99.

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The capitalist system maintains the colonial logic in the dialogue between knowledge and ways of life. The accumulation of material wealth, individualism, production of goods and exacerbated consumption have resulted in imbalance, physical and symbolic exhaustion of the planet. The field of arts does not constitute an autonomous system in relation to culture, to the aforementioned cultural modes. In it, the processes of formation of subjects, exclusion and discrimination also result from neoliberalism, which imposes a Promethean education linked to the notion of civility and progress, causing malnutrition of feeling, sensitivity, and imagination. The poetic state is relegated to the background and restricted to literary expression. Artistic practices are inserted in the truth regimes of the hegemonic models that produce them. Building other pedagogies requires thinking about ways to deviate from the totalizing ontologies of the so-called traditional educational thought. The impact of (hegemonic) european theoretical constructions on classroom relationships needs to be considered, as well as racism and the absence of women in the epistemic field. It is in this context that initiatives to rethink the dichotomy between reason and imagination present in westernized culture gain importance. Imagination is an important factor of psychosocial balance, it is through imagination that the whole process of symbolization, signification and de-alienation of human thought takes place. Based on the notion that the imaginary and rationality are not antagonistic psychic spheres, the Pedagogy of the Imaginary proposes the reunion of rational and poetic forms of culture based on the revaluation of the imaginative function and reflection on the purpose and meaning we have given to life and education. This without resorting to a set of teaching techniques or strategies, much less taking the Pedagogy of Imaginary as a discipline whose content deals with the imagination or creativity. This study began with the completion of the discipline Pedagogy of the Imaginary in Visual Arts (2020.2/ UFPE), where the participation of students provided insights into the need to identify forms of resistance to hegemonic cultural modes, in addition to motivating us to think about a Pedagogy of the Imaginary for the Artistic Education. Some questions remain: 1) How can the knowledge about art/ life of students undergoing training in the field of teaching/ learning arts be articulated with studies on decoloniality and the Imaginary?; 2) How can the Pedagogy of the Imaginary be conceived for the field of Artistic Education and how can it be plotted with the debate on decoloniality?; 3) How do undergraduate art students think about the possibilities of deviation within their teacher training and internship practices? The doctoral project “Libertarian artistic education. A counter-pedagogy?” which began its second year in October 2021, at FBAUP, intends to continue this debate.
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Rutsinskaya, Irina, and Galina Smirnova. "VISUALIZATION OF EVERYDAY SOCIAL AND CULTURAL PRACTICES: VICTORIAN PAINTING AS A MIRROR OF THE ENGLISH TEA PARTY TRADITION." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/37.

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"Throughout the second half of the seventeen and the eighteenth centuries, tea remained an expensive exotic drink for Britain that “preserved” its overseas nature. It was only in the Victorian era (1837-1903) that tea became the English national drink. The process attracts the attention of academics from various humanities. Despite an impressive amount of research in the UK, in Russia for a long time (in the Soviet years) the English tradition of tea drinking was considered a philistine curiosity unworthy of academic analysis. Accordingly, the English tea party in Russia has become a leader in the number of stereotypes. The issue became important for academics only at the turn of the twentieth and twenty-first centuries. Currently, we can observe significant growth of interest in this area in Russia and an expansion of research into tea drinking with regard to the history of society, philosophy and culture. Despite this fact, there are still serious lacunas in the research of English tea parties in the Victorian era. One of them is related to the analysis of visualization of this practice in Victorian painting. It is a proven fact that tea parties are one of the most popular topics in English arts of the nineteenth and the twentieth centuries. No other art school in the world referred to the topic so frequently: painting formed the visual image of the English tea party, consolidated, propagandized and spread ideas of the national tea tradition. However, this aspect has been reflected neither in British nor Russian studies. Being descriptive and analytical, the present research refers to the principles of historicism, academic reliability and objectivity, helping to determine the principal trends and social and cultural features and models in Britain during the period. The present research is based on the analysis of more than one hundred genre paintings by British artists of the period. The paintings reflect the process of creating a special “truly English” material and visual context of tea drinking, which displaced all “oriental allusions” from this ceremony, to create a specific entourage and etiquette of tea consumption, and set nationally determined patterns of behavior at the tea table. The analysis shows the presence of English traditions of tea drinking visualization. The canvases of British artists, unlike the Russian ones, never reflect social problems: tea parties take place against the background of either well-furnished interiors or beautiful landscapes, being a visual embodiment of Great Britain as a “paradise of the prosperous bourgeoisie”, manifesting the bourgeois virtues. Special attention is paid to the role of the women in this ritual, the theme of the relationship between mothers and children. A unique English painting theme, which has not been manifested in any other art school in the world, is a children’s tea party. Victorian paintings reflect the processes of democratization of society: representatives of the lower classes appear on canvases. Paintings do not only reflect the norms and ideals that existed in the society, but also provide the set patterns for it."
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Reports on the topic "Visual Culture Studies"

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Mai Phuong, Nguyen, Hanna North, Duong Minh Tuan, and Nguyen Manh Cuong. Assessment of women’s benefits and constraints in participating in agroforestry exemplar landscapes. World Agroforestry, 2021. http://dx.doi.org/10.5716/wp21015.pdf.

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Participating in the exemplar landscapes of the Developing and Promoting Market-Based Agroforestry and Forest Rehabilitation Options for Northwest Vietnam project has had positive impacts on ethnic women, such as increasing their networks and decision-making and public speaking skills. However, the rate of female farmers accessing and using project extension material or participating in project nurseries and applying agroforestry techniques was limited. This requires understanding of the real needs and interests grounded in the socio-cultural contexts of the ethnic groups living in the Northern Mountain Region in Viet Nam, who have unique social and cultural norms and values. The case studies show that agricultural activities are highly gendered: men and women play specific roles and have different, particular constraints and interests. Women are highly constrained by gender norms, access to resources, decision-making power and a prevailing positive-feedback loop of time poverty, especially in the Hmong community. A holistic, timesaving approach to addressing women’s daily activities could reduce the effects of time poverty and increase project participation. As women were highly willing to share project information, the project’s impacts would be more successful with increased participation by women through utilizing informal channels of communication and knowledge dissemination. Extension material designed for ethnic women should have less text and more visuals. Access to information is a critical constraint that perpetuates the norm that men are decision-makers, thereby, enhancing their perceived ownership, whereas women have limited access to information and so leave final decisions to men, especially in Hmong families. Older Hmong women have a Vietnamese (Kinh) language barrier, which further prevents them from accessing the project’s material. Further research into an adaptive framework that can be applied in a variety of contexts is recommended. This framework should prioritize time-saving activities for women and include material highlighting key considerations to maintain accountability among the project’s support staff.
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