Visual Semiology

Este artículo interpreta una de las obras famosas del pintor A. Bentato a través de la Semiótica de R. Barthes  aplica a la crítica del arte visual. Toda obra plástica es fascinante por reflejar su época y su autor, y la de Bentato, en particular, invita al espectador a desentrañar emociones y significados ocultos en la mirada de la 'Mujer' del lienzo. Así, este estudio busca demostrar la aplicabilidad de la teoría barthesiana y evaluar, desde el cubismo y el psicoanálisis, el impacto estético y emocional de la obra interpretada.

The topic of this paper gravitates around the Versöhnungskirche (Reconciliation Church) in Berlin and its processes of signification in the landscape of its historical evolutions. In the first part of the article (§1), I will briefly describe the historical environment of the Church in the Mitte neighbourhood. The vicissitudes of the building Church gain our interest during the second world war, because of its position right on the border in between East and West Berlin. As the wall was built, its community was separated from the Church, its bell tower converted to a watch tower. As the Cold War sprung, the building Church was destroyed, being considered bulky and useless for the control practises of the two sectors of the City. The Wall, famously dismantled in 1989, left behind a lively debate about the possibility of building of a Berlin Wall Memorial, which naturally would have included the St. Sophie parish. The community was torn apart. Although it initially wanted to destroy what remains of the Wall, after some years, the community was to become one of the strongest voices advocating for the creation of a Wall Memorial in Bernauer Straße. The Chapel (the Versöhnungskapelle) was part of an intervention rebuilt in this trauma site rightfully regaining its space in the Berlin Wall Memorial. In this article I will summarize the debate about the re-semantization of this “difficult, uncomfortable and dissonant heritage” (§1.1). I will then proceed to, in the second part, investigate the role of the Chapel in the semiosphere and in the history of community living it. My analysis method will be based on cultural semiotics starting from a lotmanian imprinting. What the results of my work lead me to believe is that the building of the Wall has been felt by the Sophien community as the “explosion” of its culture, so much as the arrangement of its spaces has been seen as an “implosion” (§2). In the third section, I will examine the politics of memory subtended by this new building, focusing especially on some of its architectural choices, not forgetting the role of space: the parvis, the wall of the chapel, the facade, the ambulacrum, the nave, and the niche of the cross in the presbytery, all these elements gain their full meaning solely considered under the light of reconstruction. In this part I will use some conceptual instruments which come from the interpretative semiotics, taking the most out of its theory of signs (§3). In the fourth and last part of my contribution, I will underline the critical semiotic role of the sound. In fact, the “Reconciliation” effect would not be as powerful as it is without the intervention of the music dimension: to better understand this concept, I will be underlining the political elements recalled by the Church’s organ and its spatial articulation. Finally, I will analyse the solutions adopted regarding the construction of the bell tower, rich in historical meaning, which resulted in a new horizontal orientation of the outside of the chapel.

This research aims to show that the discourse of colonialism still takes place in everyday life today. This is shown by analysing the poster of a British colonialism-themed film titled Edge of The World directed by Michael Haussman. This biopic contains the adventures of Sir James Brooke, the first Westerner to become King of Sarawak on the island of Borneo on 18 August 1842. The researcher uncovered the myths contained in the Edge of the World film poster illustration by using Barthes' semiological system. After that, the researcher critically analysed the discourses of orientalism visualised in the film poster illustration based on the signified data of the first-level relation semiological reading. From the analysis, two kinds of discourses were found, namely the attempt to (1) instil the myth of Sir James Brooke's heroism in Sarawak and (2) perpetuate the oriental discourse in the film poster illustration. These two kinds of discourses have shown unequivocally that whether we realise it or not, the discourse of colonialism still continues to occur in various forms in life.

Problem Statement: L-systems are among the algorithms for calculating the self-organized process of “environmentally sensitive growth” of plants. They are one of the five main generative methods that, given the structure and main field of application, promise great potential in architecture. But at the same time, examples of their application in architecture are few and have not yet been sufficiently developed. Therefore, their development requires a comprehensive study. So, in this study, while identifying the possible potentials in architecture, the background of their
applications in architecture as well as in other fields are reviewed. Then, these applications are divided and compared, and accordingly, some suggestions for development are presented.
Research objective: The purpose of this research is to comprehensively investigate L-systems and identify their applications and potentials in architecture.
Research method: This article is descriptive-analytical, and the data collection method is documentary-based. The documents used in this article include a variety of articles, books, dissertations, and architectural competitions, all or part of which is related to research on architectural applications and other related applications of L-systems that have been published since 2000.
Conclusion: Exploring the algorithm in the field of botany, the five main concepts of L systems are: development, abstraction, self-similarity, complexity in simplicity, and topology; Among these,
the concept of development is more popular in architecture, while other concepts have received less attention. In this regard, reviewing their applications in other fields and their methodologies will be inspiring. In this article, research trends in the architectural applications of the L-system are identified and the reasons for its decline in recent years, as well as suggestions for development, are presented. Other analyses are also presented, including the scientific validity of the documents used, the types of applications, the methodology of the L-system, and the design stage.

Boşanma, yasal, ekonomik, psikolojik, kültürel, toplumsal ve psikolojik nedenleri olan karmaşık bir sosyolojik olgudur. Sanayileşme, kentleşme sonucu yaşanan hızlı yapısal değişmeler, kadının ekonomik ve sosyal hayata katılması, eşlerin evlilikten beklentileri arasındaki uyumsuzluk, evlilikten beklentilerin artması, boşanma konusundaki toplumsal direncin azalması ve boşanma konusundaki olumsuz yargılar konusundaki zihniyet dönüşümü, boşanmaları artıcı etki yapmıştır. Bir taraftan; Türkiye'de aile bağlarının sağlamlığı, evlilik kurumuna atfedilen değer ve buna bağlı evliliklerin ömür boyu sürmesi konusundaki toplumsal beklentiler, diğer yandan da boşanma sonrası yaşanan ekonomik, toplumsal ve psikolojik sorunlar aile birliğinin bozulmasını engellemektedir. Kadına yönelik aile içi şiddet boşanma nedenlerinden birisidir. Aile içi şiddet, aile kurumunu tehdit etmekte ailenin yapı ve fonksiyonlarını sağlıklı bir şekilde yerine getirmesini güçleştirmektedir. Bu kapsamda, aile içindeki kadına yönelik şiddetin sonlandırılmasına yönelik çalışmalar yapılması ve evli çiftlere yönelik danışmanlık hizmeti verecek kurumların yaygınlaştırılması önerilmektedir.

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Une enseigne at -elle intérêt à bouleverser les codes du genre ? Réactions d'enfants exposés au catalogue de jouets de Système U Résumé : L'enseigne Système U a suscité de nombreuses polémiques en insérant dans son catalogue de jouets de Noël des visuels rompant avec les normes sexuées. Cet article explore les réactions d'enfants de 5 à 10 ans confrontés à ce catalogue et à ses visuels incongruents, afin d'apprécier la pertinence de cette initiative. Il montre que les visuels incongruents sont rarement repérés spontanément par les enfants dans le catalogue. Mais, après observation, les enfants de 5-6 ans (en pleine acquisition de la constance de genre) rejettent ces visuels et les jouets associés. Les enfants plus âgés peuvent les accepter, au prix d'une recontextualisation pour rendre les images tolérables. Des voies visant à accentuer la neutralité des jouets, au travers d'une mise en scène des visuels dans les catalogues, sont alors proposées. Mots-clés : enfantcatalogue de jouetsgenreconstance de genre Should retailers break the rules of gender norms? Children's reactions to the toy catalog of Système U retailer

Problem statement: Poetry and architecture as two artistic branches use their own language and tool to convey a message. Each of the mentioned arts creates a kind of space by their tools which is readable by the audience. This feature (readability) pushes them towards textuality. Poetics is a word to show generative aesthetics, space qualitative elements and construction in the arts. The infrastructure which happens by passing through textuality properties, promotes speech to the poem and also distinguishes between construction and architecture world. Poetic strategies have been identified and classified in poetry by different literary techniques. Research objectives: The aim of the current study is to discover poetic elements and strategies in architectural space. This is done by investigating and comparing poetics in the space of poetry with architecture and answering the questions of what similarities in poetry, literary techniques and architectural strategies make the space in p...

Tous droits réservés pour tous pays. La reproduction ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des conditions générales d'utilisation du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement. Toute autre reproduction ou représentation, en tout ou partie, sous quelque forme et de quelque manière que ce soit, est interdite sauf accord préalable et écrit de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Il est précisé que son stockage dans une base de données est également interdit.

Problem statement: Poetry and architecture as two artistic branches use their own language and tool to convey a message. Each of the mentioned arts creates a kind of space by their tools which is readable by the audience. This feature (readability) pushes them towards textuality. Poetics is a word to show generative aesthetics, space qualitative elements and construction in the arts. The infrastructure which happens by passing through textuality properties, promotes speech to the poem and also distinguishes between construction and architecture world. Poetic strategies have been identified and classified in poetry by different literary techniques. Research objectives: The aim of the current study is to discover poetic elements and strategies in architectural space. This is done by investigating and comparing poetics in the space of poetry with architecture and answering the questions of what similarities in poetry, literary techniques and architectural strategies make the space in poetry and architecture poetic? Research method: Therefore, contemporary religious architecture has been used as a function. Expressing concepts is also important in religious architecture which provides a suitable background for poetic expression in architecture. The selected buildings have been chosen among religious buildings and from different religions. The samples under investigation are "The Water Temple" by "Tadao Ando", "Laleh Park Namazkhane" by "Kamran Diba", "Sancaklar Mosque" by "Emre Arolat" and "Church of San Giovanni Battista" by "Mario Botta". First, common infrastructures between architecture and poetry have been mentioned. Language has been considered as a common factor between these two arts and has been regarded as a basis for comparing them. Conclusion: "Poetics" as the axis of this discussion showed that architects like poets have created an architectural poetics by literary techniques such as allusion, synesthesia, defamiliarization, metaphor and trope.

Statement of the problem: In addition to the many factors leading to the creation of shelter, the role of sociocultural factors in the creation of the effects of immaterial tissue on the transfer of the meaning of architectural works is modeled. One of the architectural phenomena that can be a reflection of social discourse in its reading is "high-rise residential buildings." Meanwhile, the relationship between architecture and cinema, which has been used for many times in both areas, is the venue for review and convincing the audience.
Purpose:The purpose of this study is to investigate how the discourse and semiotic analysis methods can be applied to architectural works and a systematic search for the meanings that have been shown to influence the impact of the cultural and social context on the emotional audience. With this aim, after analyzing the archive of Iranian cinema, analyzes have been presented with the aim of matching and identifying the interconnectedness of the discursive space of cinematic works with architectural works.
Research method:This study, using the library and cinema documents of Iran, in a discursive semantic manner, introduces movies as a semiotic source. It also analyzes the format of discourses in samples of films which deals in a way with the theme of high buildings. Then, through intertextualization, it has received some of the meaning of architecture in an open and fluid form. The findings of this research have been presented through the descriptive-analytic method.
Conclusion: Discourse semantics can be a logical reason for reading the meaning of architecture. Considering the social cohesion of high-rise residential buildings, one can say that they make privacy and neighborhood borders. Such buildings are the basis of materialism, individualism, and ostentation, which are more reflected in the middle class of society. It is also in line with the growth of the social role of women and the new model of the family. Reading these meanings and this mirroring, together with the need for high-rise residential buildings, can lead to a transformation in the design of this architectural example.

Cet article se propose d’analyser les discours commémoratifs produits par les anciens présidents de l’Argentine Néstor Kirchner (2003-2007) et Cristina Fernández de Kirchner (2007-2011, 2011-2015) chaque 2 avril, à l’occasion de la Journée du Vétéran et des soldats tombés dans la Guerre des Malouines (1982). En adoptant une démarche d’analyse du discours, nous étudions les divers aspects qui, dans la matérialité langagière, manifestent des divergences interprétatives concernant la guerre. Spécifiquement, nous nous concentrons sur quatre axes : la configuration de l’adversaire, le type d’émotions exprimées, la guerre en tant que cause nationale ou cause dictatoriale et la représentation des combattants. La comparaison des discours des deux dirigeants autour de ces quatre axes nous permet, en définitive, de comprendre comment la mémoire des Malouines se construit discursivement à partir d’une position politico idéologique non exempte de tensions internes.

Le selfie est très banalement considéré comme une photographie narcissique, qui porte à son paroxysme la relation de soi à soi de l'autoportrait et rencontre un désir de visibilité caractéristique du monde contemporain. On souligne aussi volontiers les récurrences de cette photographie, qui se concentre sur les objets et des paysages reconnus comme désirables, des objets d'une valeur sociale et des sites donc. Pourtant, reconnaître cette récurrence formelle, cette normativité, revient à reconnaître le caractère collectif de cette photographie. Comment le selfie peut-il concilier la représentation d'un « je » avec celle d'une communauté ? Je m'efforcerai de montrer qu'il n'y a pas de contradiction mais seulement un paradoxe. Non seulement, et comme tout portrait, le selfie met en évidence une relation interpersonnelle, mais le « je » dissimule un « nous » qui est à la fois un « nous d'énonciation » lorsque le selfie saisit la rencontre d'un ou de plusieurs amis, un « nous de communication » qui attend la confirmation d'un « j'aime » et un « nous de valeurs » qui saisit, dans l'image, tout ce qui importe à une communauté de même que le paysage qu'elle a construit.

Filière Communication Interculturelle DREA OIPP  Objectifs du cours …  Comprendre le rôle et l'importance de ces productions audiovisuelles dans la construction, circulation et transmission des modèles et représentations culturels:  des connaissances, des croyances, des valeurs, …  des représentations, d'images, de stéréotypes, …  Analyser et comprendre le « regard » (filmique, photographique) des individus et groupes sociaux sur le monde et aussi sur euxmême.  Analyser et comprendre l' « écriture audiovisuelle » (i.e. les techniques de mises en image et du montage des personnes, objets, situations, … représentés dans les documents

Πράξη 1 Η Κάρολ, μια φοιτήτρια κολεγίου, συναντά ιδιωτικά τον άνδρα καθηγητή της. Ανησυχεί μήπως αποτύχει στο μάθημα. Είναι απογοητευμένη γιατί δεν καταλαβαίνει τις υπερβολικά περίπλοκες διαλέξεις του καθηγητή. Παρά το γεγονός ότι έχει διαβάσει τα βιβλία που της ανατέθηκαν και παρακολουθεί τις διαλέξεις του. Ιδιαίτερη ανησυχία προκαλεί ένα βιβλίο που έγραψε ο ίδιος ο Τζον, όπου αμφισβητεί τη σύγχρονη επιμονή να συμμετέχουν όλοι στην τριτοβάθμια εκπαίδευση, αναφερόμενος σε αυτό ως «διανοητική και συστηματική θόλωση». Ενώ μιλάει με την Κάρολ, ο Τζον διακόπτεται συχνά από το τηλέφωνο που χτυπάει.

This paper begins by identifying and discussing six attributes or characteristics of television interviews, which include the function of the interview, i.e., information or entertainment; the context within which it is presented in the program; the number of interviews and interviewees; the duration of the interview and the degree of its formality; and the kinds of people that appear in television interviews. Several television program formats common in many countries which involve some form of interviewing are then defined and described: (1) game shows; (2) variety shows; (3) talk shows; (4) feature interviews; (5) documentaries; (6) current affairs; and (0) news. Next, four categories of characteristics that can be systematically used to compare different interviews are discussed, i.e., identity, verbal, nonverbal, and situational codes. Each of these categories is further broken down to provide added means for analysis and understanding of television interviewing, e.g., demographic characteristics, questioning techniques, special codes, and location of the interview. The viability of the analytic scheme is then demonstrated via its application to programming in the United States, Great Britain, West Germany, and Israel. Substantial differences found in the types of interviews used in the four countries are cited, and it is suggested that these differences may be due to such factors as the pattern of media ownership, political pressures, and national character. Analyses of data on various facets of news interviewing in the four countries are presented in six tables. (CGD)

This paper begins by identifying and discussing six attributes or characteristics of television interviews, which include the function of the interview, i.e., information or entertainment; the context within which it is presented in the program; the number of interviews and interviewees; the duration of the interview and the degree of its formality; and the kinds of people that appear in television interviews. Several television program formats common in many countries which involve some form of interviewing are then defined and described: (1) game shows; (2) variety shows; (3) talk shows; (4) feature interviews; (5) documentaries; (6) current affairs; and (0) news. Next, four categories of characteristics that can be systematically used to compare different interviews are discussed, i.e., identity, verbal, nonverbal, and situational codes. Each of these categories is further broken down to provide added means for analysis and understanding of television interviewing, e.g., demographic characteristics, questioning techniques, special codes, and location of the interview. The viability of the analytic scheme is then demonstrated via its application to programming in the United States, Great Britain, West Germany, and Israel. Substantial differences found in the types of interviews used in the four countries are cited, and it is suggested that these differences may be due to such factors as the pattern of media ownership, political pressures, and national character. Analyses of data on various facets of news interviewing in the four countries are presented in six tables. (CGD)

Introduction Alors que les annonces presse pour les jouets représentent largement l'enfant ciblé, une analyse d'un échantillon de plus de 200 annonces de presse et de catalogues produites par les industriels du meuble pour enfant révèle une certaine tendance à y occulter la présence de l'enfant (dans environ deux-tiers des cas). Dans un premier temps, il nous est paru intéressant de nous interroger sur les motifs d'une telle absence de l'enfant dans les annonces publicitaires ; en évoquant éventuellement une certaine difficulté à représenter la nature même de la cible visée (La Ville et al. 2012)-un consommateur « hybride, un cluster parent-enfant » au sens de Barrey et al. (2011 et 2000) ; ou peut-être encore une volonté d'internationalisation de l'offre qui suppose de pouvoir transposer une même annonce dans différents contextes culturels. Cependant, réflexion faite, la difficulté à appréhender les instigateurs d'une telle stratégie, s'il s'agit bien d'un acte volontaire de la part des annonceurs (et rien ne l'atteste), combinée à la pertinence d'un tel questionnement, nous ont amené à recentrer notre problématique sur l'impact de l'absence de l'enfant dans ces annonces pour les chambres qui leurs sont destinées. Cette communication sera donc l'occasion de s'interroger d'un point de vue sémiotique sur l'effet perceptuel d'une telle absence de l'enfant des annonces presse et catalogue des fabricants de meubles pour enfants. L'objet de cette communication est d'analyser dans quelle mesure l'absence de l'enfant des

Notons que la plupart des terrains d'enquête ont été réalisés, peut-être par commodité, dans des institutions éducatives : crèche, école maternelle et primaire, collège et lycée, université, plutôt que dans des espaces familiaux, même s'ils ne sont cependant pas absents. Ces différentes institutions marquent les âges de la vie.

Genre-Préparation de la naissance-Socialisation-Rôles parentaux. (1) Dans son ouvrage précurseur, Elena Gianini Belotti (1974) fait allusion au système de conditionnement genré très précoce, autour de la naissance. Quelques travaux plus récents mentionnent la construction de l'identité sexuée avant la naissance, voir Bereni et al. 2012, et en psychologie, par exemple : Birns, 1986. (2) Il n'existe pas de données nationales sur le nombre de grossesses donnant lieu à l'annonce du sexe du foetus, mais de très nombreux couples s'informent du pronostic de sexe comme en témoignent des enquêtes locales (Régnier-Loilier, 2007) et l'expérience des médecins gynécologues et échographes. (3) Dans cet article, les termes « enfant » ou « bébé » sont mobilisés au titre de catégories indigènes : les mères, ici interrogées après le sixième mois de grossesse, utilisent ces termes. Au titre de catégories descriptives, on parle de « foetus », de « bébé à naître », de « futur enfant ».

Yasal olmayan bir amaca ulaşmak için güce başvurmak ya da bu sayede tehdit etmek, toplumlarda genellikle kabul görmüş olan yasa ve ahlak ilkelerine aykırı bir biçimde güç kullanma eylemleri bütünü şiddet olarak tanımlanmaktadır. Bunlar içinde basında en çok yer alan ise kadına ve çocuğa cinsel şiddet olarak karşımıza çıkmaktadır. Oysa cinsel şiddet, her iki cinsiyet için de geçerli olduğu gibi yabancı biri tarafından saldırı dışında eş, aile vb. tarafından da uygulanabilmektedir. Cinsel şiddet sadece fiziksel istismarı değil, dokunmaktan cinsel içerikli film izletmeye, cinsel sözel saldırıdan ilişkiye zorlamaya kadar çok geniş bir yelpazeyi içermektedir. Bu açıdan baktığımızda görünenden çok daha büyük bir kitleyi ilgilendiren cinsel şiddet, yaygın bir sorun olarak karşımıza çıkmaktadır.

Les armoiries créées pour Louis-Philippe Normand (1863-1928) ont beaucoup de similitudes avec celles des familles Le Normand d'Étioles et Le Normand du Fort. L'article présente les origines de ce maire de Trois-Rivières et l'importance des recherches généalogiques lors de la création d'armoiries.

BOUET ou BOVET. Dauphiné. Deux familles originaires du Dauphiné portant les mêmes armes peuvent prétendre avoir commandité ce plat, les BOUET et les BOVET. Le U et le V s'écrivaient à l'époque de la même façon V alors s'agit-il à l'origine de la même famille ? Armes BOVET (de) : Dauphiné-d'azur, au boeuf ® (taureau) d'or-Un autre auteur donne : d'azur, au boeuf d'or, terrassé de sinople-Même famille ? Armes BOUET (de) Dauphiné : d'azur, au taureau d'or. Ecu de style Louis XIV posé sur un cuir sous une couronne de Marquis.

LE JOURDAN (ETIENNE-JEAN), ancien magistrat, député au Conseil des Anciens, et membre du Tribunal, naquit à Marseille le 30 mars 1756, du mariage de Jean-Maximin, procureur en la sénéchaussée, et de Marguerite Constant.

Grâce à lui l’hôtel de ville de Marseille fut préservé de la démolition que les révolutionnaires avaient ordonnée.

В статье рассматриваются миниатюры персидского списка «Шахнаме» Фирдоуси 1333 года как интерактивные нарративные визуализации, влияющие на формирование ситуационного мышления представителя персидского континуума XIV века. Созерцание живописной миниатюры интегрирует знаньевый потенциал человека и созерцаемую им реальность: благодаря видению «схватываются» и различаются пространственные свойства внешней среды, актуальные состояния мира и параметры жизненного мира, или комплексы образцов поведения. Исследование нарративных визуализаций «Шахнаме» строится на синтезе трансцендентально-феноменологической методологии Э. Гуссерля и положений технической герменевтики как основаниях для выявления нарративно-визуальной схемы моделирования процесса использования знаний созерцателем. В миниатюрах Персидского списка праимпрессии, обозначеные ликами Героев, образуют связь, проявляющуюся в орнаментальном тексте, ретенция визуализируется в изображении рук Героев, фокусирующих внимание на «физическом» элементе истории, а протенция визуально означена изображением коней. Ретенциональное сознание, формируемое нарративными визуализациями в Персидском списке «Шахнаме» 1333 года, способно постигать «конкретное живое настоящее». / The article considers the miniatures of the Persian copy of “Shahnameh” by Ferdowsi of 1333 as interactive narrative visualizations influencing the formation of situational thinking of the representative of the Persian continuum of the XIV century. The contemplation of the pictorial miniature integrates the knowledge potential of man and the reality contemplated by him: due to the vision “grasp” and distinguish the spatial properties of the environment, the current state of the world and the parameters of the life world, or complexes of patterns of behavior. The study of the “Shahnameh” narrative visualizations is based on the synthesis of E. Husserl’s transcendental-phenomenological methodology and the provisions of technical hermeneutics as grounds for revealing the narrative-visual scheme of modeling the process of using knowledge by the beholder. In the miniatures of the Persian copy, the praimpressions, marked by the faces of the Heroes, form a connection, manifested in the ornamental text, the retention is visualized in the image of the Heroes’ hands, focusing on the “physical” element of history, and the protension is visually marked by the image of horses. The retentional consciousness, formed by narrative visualizations in the Persian copy of 1333, is able to comprehend the “konkrete Lebensgegenwart”.

Éléments de l'analyse métaplastique au niveau parlant des répresentations armoriées verbalisées en Français et mentionnées dans "La Mise en Image du Don dans les Armoiries Parlantes Francophones" - Nicolas Vernot - in Archives Héraldiques Suisses : Archivum heraldicum, 2013, t. II, Actes du XVIIe Colloque de l’Académie Internationale d’Héraldique, Fribourg, Einsiedeln, 2013, pp. 142-154. Armoiries de: Pierre Bardon, Louis Bardon, Blaise-Ignace Bardon, Gabriel Baudon, Baudon (Île-de-France), Baudon (Franche-Comté), Bourdon, Jean Calvin (cachet armorié), Cardon, Gilles Corrozet (marque d'imprimeur), Daidier, Deidier, Deydier, Gaucher de Dinteville (dalle funéraire), Donan, Doncoeur, Conseiller Donnadieu, Étienne Donnadieu, Jacques Donnadieu, Louis Donnadieu, Mathieu Donnadieu, Donnadieu (moderne), Pierre Donnadieu, Donnève, Donodei (Comtat Venaissin), Donodei (Languedoc), Donodei (Provence), Donrard, Faudon, Gaillard, Maryé, Anne du Plessis (dalle funéraire) et Verdon,

Article in French
Résumé. - L'idée que les cartes et les diagrammes ne sont pas seulement des sources d'information, mais aussi des outils de communication, n'est pas si nouvelle. Dès le XVIIe siècle, certains auteurs géographes souhaitaient des représentations graphiques lisibles et efficaces, et non plus seulement justes et complètes. Bien que dans la Sémiologie graphique (1967), J. Bertin ne se réfère à aucune tradition, il existe bien une réflexion théorique sur l'image antérieure à ce traité majeur. Cet article en souligne quelques moments forts, rappelant les apports de personnalités telles qu'Emmanuel de Martonne ou Maximilian Eckert. Il présente aussi, hors des frontières de la géographie, les premières expérimentations sur la graphique menées par des statisticiens dans la première moitié du XXe siècle.
Abstract
Abstract. - The idea that maps are not only a repository of information, but also a mean of communication, is not so new. As early as the XVIIth century, a few geographers wished for maps that would be not only precise and complete, but also legible and efficient. In his Sémiologie Graphique (1967), J. Bertin did not refer to any tradition, yet a theoretical reflection did exist before his major treatise. This article points out some milestones in the history of graphical thinking. It mentions the contribution of personalities like Emmanuel de Martonne or Maximilian Eckert. It also presents the first experiments on the perception of diagrams done by statisticians in the first half of the XXth century.

Στη μελέτη αυτή θα επιχειρήσουμε να αναλύσουμε ένα μήνυμα που περνάει ο «Ελληνικός Κόσμος» για να προωθήσει την περιοδική έκθεση «Τουταγχαμών - Ταξίδι στην αιωνιότητα» που φιλοξενεί. Τα μεθοδολογικά εργαλεία που θα χρησιμοποιήσουμε για την ανάλυσή μας προέρχονται τόσο από τον χώρο της γλωσσολογίας, όσο και από αυτόν της ανάλυσης περιεχομένου.

La relazione individua e descrive gli ingredienti retorici principali del trolling contrapponendoli a quelli di pratiche discorsive comparabili: la provocazione, lo scherzo, l’anonimato difensivo, il discorso pubblico critico, le controversie e la menzogna. Se ne deduce che i seguenti elementi giocano un ruolo importante nella costruzione discorsiva del trolling: provocazione impermeabile agli argomenti; celia illimitata; gerarchia sadica di mittente e ricevente; anonimato sia del troll che del suo pubblico; carattere corale dell’“attante osservatore” del trolling; costruzione di una contraddizione semantica artificiale; disgregazione delle logiche argomentative; irrilevanza della relazione tra credenze ed espressioni. Il trolling sconvolge profondamente l’etica della conversazione della civiltà umana perché isola l’espressione dal contenuto, il significante dal significato, e la comunicazione dall’intenzione.

Εδώ και χρόνια, σα μορφές που ξεπήδησαν από μυθιστόρημα, ο τυφλός και η κοντή περπατούν κάθε μέρα χιλιόμετρα, σ' ένα κυκλαδίτικο νησί, πιασμένοι χέρι-χέρι -εκείνη τον καθοδηγεί στο καθημερινό οδοιπορικό τους... Ο τυφλός, ένας άνθρωπος που δεν βλέπει όλες εκείνες τις εικόνες που ατενίζουμε όλοι οι υπόλοιποι: τα διαφορετικά χρώματα, τις ονειρικές αποχρώσεις, τους γλυκούς τόνους του γκρίζου, το άσπρο & το μαύρο. Ο τυφλός, ένας άνθρωπος που δεν βλέπει όλες εκείνες τις εικόνες που έχουμε την τύχη να βλέπουμε στις δεκάδες φωτογραφικές εκθέσεις. Φανταστείτε να ζείτε σε μία πραγματικότητα όπου δεν μπορείτε να δείτε ΚΑΜΙΑ απολύτως φωτογραφία, η σκέψη και μόνο φαντάζει ασύλληπτη. Κι όμως ο τυφλός φαντάζεται, μέσω της αφής φερ' ειπείν μπορεί. Ο τυφλός μπορεί να αγγίξει και να νιώσει το γλυπτό, την κατασκευή, ακόμη και τον πίνακα με τις ανάγλυφες μπογιές του. Σε πρόσφατη έκθεση χαρακτικής στην Ελλάδα, τα έργα των χαρακτών συνόδευαν αντίγραφες εκδοχές τυφλών μαθητών. Τί γίνεται όμως με τον άυλο χαρακτήρα της φωτογραφίας; Την φωτογραφία όσο και να την αγγίξεις, δεν αισθάνεσαι αυτό που απεικονίζει. Κατά καιρούς έχουν γίνει σχετικά φωτογραφικά πρότζεκτ, όπως το "Shooting Blind" που είχε παρουσιαστεί σε παλαιότερο τεύχος του Aperture.