published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 80-83).

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 80-83). Also available in print.

Orientador: Francisco Benjamin de Souza Netto / Tese (doutorado) - Universidade Estadual de Campinas - Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T12:26:04Z (GMT). No. of bitstreams: 1 Raschietti_Matteo_D.pdf: 1965801 bytes, checksum: 3c1b26f1f106e029055f8778dc55b70c (MD5) Previous issue date: 2008 / Resumo: O intuito dessa tese está em apresentar e tentar entender a organização da teoria do conhecimento de Meister Eckhart que, começando pela distinção escolástica entre percepção sensível, conhecimento por representação e conhecimento por intuição, vai além de um simples percurso cognitivo. Para o mestre dominicano, a finalidade do conhecimento é conhecer perfeitamente a Deus e sua conditio sine qua non é o abandono de todas as imagens materiais. O conceito de imagem (imago em ltim, Bild em alemão) na teoria eckhartiana, é um verdadeiro princípio hermenêutico que torna possível o acesso ao conhecimento, à compreensão, à elucidação dos nós mais difíceis do seu pensamento. O recurso metodológico utilizado para alcançar os objetivos prefixados corresponde ao processo criativo da forma na escultura, segundo uma metáfora plotiniana que o próprio Eckhart utiliza. Assim, nos primeiros três capítulos, são retirados paulatinamente os fragmentos que ocultam "a imagem sem imagem" de que fala o turíngio: a reflexão aristotélica, neoplatônica e cristã sobre a imagem e também a própria produção eckhartiana, em latim e em mittelhochdeutsch. Através dessa análise, é reconhecida a presença de suas tradições: a tradição filosófica da representação (na teoria do conhecimento) e a tradição teológica do Filho como imagem. No último capítulo, a imago-Bild é reconstruída a partir de três perspectivas: hermenêutica, teológica e ética. Essa abordagem da teoria do conhecimento de Meister Eckhart permite reconhecer três aspectos fundamentais, a saber: a necessidade do desprendimento de todas as imagens das criaturas, expressa pelo verbo entbilden e o substantivo feminino Entbildung; uma dúplice possibilidade de interpretação da imago- Bild, ativa e passiva, que considera o ser humano como aspectum de Deus e Deus como respectum do ser humano, unidos em uma única realidade assim como o modelo e a imagem são unum; a finalidade última do conhecimento de Deus, que é re-conhecer a Sua imagem no fundo da alma, no qual o ser humano encontra sua semelhança com Ele na dessemelhança de si mesmo e de todas as criaturas. / Abstract: The purpose of this thesis is to present and try to understand the organization of Meister Eckhart's theory of knowledge which, starting from the scholastic distinction among sensitive perception, knowledge by representation and knowledge by intuition, goes beyond a simple cognitive journey. For Dominican Master, the purpose of knowledge is to get to know God perfectly and its condition sine qua non is forsaking all material images. The concept of image (imago in Latin, Bild in German) in eckhartian theory, is a truly hermeneutical principle which renders possible the access to knowledge, comprehension and elucidation of the most intricate knots of his thought. The methodological resource used to reach the objectives settled beforehand corresponds to creative process of form in the sculpture, according to a Plotinian metaphor that Eckhart himself makes use of. So, in first three chapters, the fragments that occult the "image without image" of which turingian talks are removed little by little: the Aristotelic, Neoplatonic and Christian reflection about image and the eckhartian production too, in Latin or in Mittelhochdeutsch. Through this analysis, the presence of two traditions is recognized: the philosophical tradition of representation (in the theory of knowledge) and theological tradition of the Son as image. In the last chapter, the imago- Bild is reconstructed from three perspectives: hermeneutical, theological and ethic. This approach to Meister Eckhart's theory of knowledge allows to recognize three fundamental aspects, namely: the need of detachment of all images of creatures, expressed by the verb entbilden and the feminine noun Entbildung; a double possibility of interpretation of imago-Bild, active and passive, which considers man as God's aspectum and God as man's respectum, united in the unique reality like the model and image are unum; the last objective of the knowledge of God, that is a re-cognizing of His image in the depth of the soul, where man finds his similarity with Him in the dissimilarity of himself and of all creatures. / Doutorado / Filosofia / Doutor em Filosofia

本文提出「影像/形象資本」作為考察影像/形象、資本及權間關係的工具。「影像/形象資本」發展至自布爾迪卮的文化資本，但「影像/形象」資本把焦點放在視覺或形象資源如何在文化/經濟、生產/消費以及上層建築/下層建構界線越趨模糊的符號空間經濟主導代，成為文化場域中新的權資源。 / 透過考察橫店影視城一個結合影視生產及遊的中國影城生產地域化及經濟符號化的過程，本文嘗試對「影像/形象資本」的概作深入的分析。沿著布爾迪卮的框架，影視城被視為一個由擁有同影像/形象資本的能動者構成的場域，而這些能動者自在地及跨境的生產及消費網絡。在橫店影視城生產、積與轉換的過程的探中，本文嘗試回答：一)影像/形象在文化場域中的功能及其轉換為經濟或其他資本的條件；二) 影像/形象資本在國際文化分工成員中的分佈以及其結構對影像資本的價值及轉換的影響。第一條問題旨在闡釋經濟符號化的過程，第二條問題則希望剖析影像/形象與資本主義結下的地域分工以及動政治。作為一個可以同時探究影像帶的可能性及限制的概，影像/形象資本把媒介影像的研究，從批判學派對影像呈現的控制及霸權形成，展至影像對同能動者、以至在符號經濟時代中冒升的社會機構所產生的建設性及壓迫性的權的多重探索。 / This thesis develops the concept of image capital to investigate the relationship between image, capital and power. Image capital is built on Bourdieu's concept of cultural capital, but looks specifically into how visual and imagery resources becomes a power at stake in the cultural field at the juncture of the economies of signs and space featured by growing convergence of culture and the economy and subsequent blurring of the boundaries between base/superstructure and production/consumption. / The concept of image capital is examined through the case study of the spatialization and the semioticization processes of Hengdian World Studios, a China studio complex that serves domestic and international film and TV productions and operates film studio tourism. The studio, as a case, is theorized as a field which is constituted by different agents with various forms of image capital, including those embedded in local as well as transnational production and consumption networks. The processes of production, accumulation and conversion of image capital at the field of Hengdian World Studios are investigated to chart 1) how image functions as a form of capital at stake in the cultural field and how it can be converted into other forms of capital; 2) how the distribution of image capital is structured amongst agents in the field and how this structure influences the value and conversion rate image capital to other forms of capital. The first question aims at studying the semioticization process, whilst the second attempts to scrutinize the spatialization and the labor politics underpinning the alliance of image and capitalism. By theorizing image as Bourdieusean form of capital and examining both its enabling possibilities and constraints, this thesis sheds light on the study of media images by steering beyond ideological control to both the productive and repressive power of images onto different agents as well as the social intuitions of the up and rising economies of sign and space. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chow, Pui Ha. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves [419-439]). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese. / ABSTRACT / 摘要 / ACKNOWLEDGMENTS / TABLE OF CONTENT / Chapter CHAPTER I --- Introduction --- p.1 / Chapter CHAPTER II --- Image and Capitalism --- p.21 / Marx's capital and critical media theories on image studies --- p.21 / Political economies of signs and the media --- p.26 / Implications of the political economy of signs on critical Marxist media theories --- p.31 / Alternative frameworks for the study of image and capitalism: End of Production and Labor or NICL? Or Bridging capital and labor in image production and consumption? --- p.38 / Chapter CHAPTER III --- Bourdieu's Capital, Field and Habitus --- p.51 / Bourdieu's concept of Capital --- p.52 / Field and Habitus --- p.63 / Theoretical implications of habitus and field of Bouredieusean capital --- p.71 / Chapter CHAPTER IV --- Field Theory of Cultural Production and the Political Economy of Signs --- p.76 / The field of cultural production --- p.77 / The field of cultural production and the political economies of signs and space --- p.91 / Image Capital and the political economies of signs and space --- p.105 / Chapter CHAPTER V --- Image Capital, Field and Film Studio --- p.112 / Intercontextuality: Contextual knowledge, globalization and field --- p.113 / Film Studio, image capital and field --- p.117 / Research question, design and method --- p.124 / Chapter CHAPTER VI --- The Development of Film Studio Complex --- p.135 / The emergence of film studio complex in the global field --- p.135 / Transformation of China's National Field of Cultural Production --- p.144 / Conclusion: Studio complex, image capital, and field of cultural production --- p.170 / Chapter CHAPTER VII --- Spatialization: Hengdian as a Field of Cultural Production --- p.176 / Iron Road: co-production, image capital, and boundaries negotations --- p.179 / Hengdian World Studios as Image Factory --- p.192 / Conclusion: the image factory flying beyond the place --- p.219 / Chapter CHAPTER VIII --- Semioticization: Capitalizing Image and the Mediation of Production and Consumption --- p.227 / Image capital and film-induced tourism --- p.228 / Capitalizing image at Hengdian World Studios --- p.237 / Key Image Labors --- p.252 / Chinese Hollywood: the negotiations and struggles in the capitalization of the global and the national imagination --- p.261 / Conclusion --- p.271 / Chapter CHAPTER IX --- Image Capital and Tourist Consumption: Gaze, Class and Prosumption --- p.275 / Image capital and tourist consumption --- p.276 / Tourist gaze at Hengdian World Studios --- p.284 / Image Capital, class and prosumption --- p.314 / Chapter CHAPTER X --- Image Capital and Place-Making --- p.339 / Hardware make-up: physical infrastructure engineering --- p.341 / Software make-up: lifestyle formation --- p.345 / Place branding --- p.365 / Chapter CHAPTER XI --- Conclusion: Image, Capital and Power --- p.372 / Image as capital --- p.374 / Forms of image capital --- p.376 / Functions of image capital --- p.382 / Image capital: semioticization and spatialization --- p.400

Not available / text

Honors Project--Smith College, Northampton, Mass., 2010. / Includes bibliographical references (p. 51-55).

Orientador: Antônio Carlos Rodrigues de Amorim / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T23:34:13Z (GMT). No. of bitstreams: 1 VazPupo_Marcelo_M.pdf: 3525653 bytes, checksum: b23792a2b0d94311dadd015d88124c32 (MD5) Previous issue date: 2014 / Resumo: A pesquisa de mestrado "Bem-te-vis imagéticos no encontro com o outro" entende que os processos sociais em torno da Agroecologia podem ser ricamente estudados quando a análise crítica se pauta sobre as suas dimensões culturais. É neste cenário teórico-metodológico que a pesquisa produz olhares ¿ e imagens ¿ sobre a movimentação cidade-campo a partir da vivência junto à algumas expressões agriculturais e camponesas do Estado de São Paulo, em sua maioria assentamentos da reforma agrária. A pesquisa questiona como a produção de audiovisuais pode gerar narrativas e partilhas que deem visibilidade à agricultura camponesa; como a produção de vídeos pode gerar estesia e abalo político no jogo de significados socialmente construídos (cultura e ideologia) em torno do que pensamos ser alimento e vida. A terra que persiste camponesa e inunda asfaltos emana força e sopra símbolos que desordena o discurso único e esgarça o agronegócio monocultural, nos evidenciando que o território em questão é tão concreto quanto imaterial: fato distinto cada qual com seu fruto, linguagens ímpares que o idioma corrente, acadêmico ou popular, mostra imiscível capital e soberania, commodities e segurança alimentar, monocultura e resiliência, latifúndio e dignidade humana. Há sentidos partilhados na sociedade que tencionam identidades e valores no entrelaçamento do mundo rural com o ideário moderno, recampesinização e crise civilizatória. A Agroecologia e os Estudos Culturais animam este cenário investigativo e o retroalimenta, reposicionando a produção do conhecimento acadêmico ao lançar luzes sobre os atores envolvidos. A legitimação crescente dos agenciamentos promovidos pelos movimentos sociais do campo tem implicado sério constrangimento ao conhecimento dominante. Deslocam-se os territórios subjetivos e existenciais, abrem-se fissuras e feridas identitárias, despertam-se minoridades constitutivas dormentes porém potentes. Esta pesquisa olha este fato e disserta sobre elementos que contribuem à percepção desse incessante movimento, memória imorredoura dos povos que reconfigura o visível e o pensável e refaz o mapa do sensível / Abstract: "Bem-te-vis imagéticos" is a master degree research investigating approaches between agroecology, images and communication of science. How can audio-visual materials engender narratives and affections providing visibility to peasant agriculture? Can images create a political impact in cultural representations about what we think food production is supposed to be? Brazilian social movements in agroecology and agrarian reform are serving us splited identities, fluid subjectivies in order to subvert the classical and linear understanding that prescribes us a unique future - industrial lifes, exacerbated consuption over the basic and traditional human values: respect, altruism and legitimacy in the coexistence with the difference. In order to discuss science communication about agricultural models in brazilian public policies debate, themes like identity, difference, modern imaginary, cultural representations, ideology arise. Rural settlements, indigenous territories, river communities are presenting us "off-axis" forms of life in a normative world. It does not means out of balance lifes, it means exactly the opposite: facing constraints those actors persist recreating their own memories, keeping indispensable connections with land and nature in a complex alterity - relationship we've, as western culture, forsaken over time. In the same way, how can we conceive off-axis images? In what way these images could act by theirself, not as a world representation, not as a duplicate of something? Is this a powerful question or an attractive investigation to achieve an emancipatory education and a liberatory communication? How could we use these images in our education purpose? What resources are befitting with a communication of science in this sense, in this theme? / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural

Do two people, coming from different cultural backgrounds, see the same image the same way? Do we employ technologies of seeing that embed visuality within relentless cultural and ideological frames? And, if so, when does visual difference become a tool for inclusion and exclusion? When does it become an instrument of war? I argue that we‘re always implicated in visuality as a form of confirmation bias, and that what we see is shaped by preexisting socioideological frames that can only be liberated through an active and critical relationship with the image. The image itself, albeit ubiquitous, is never unimplicated - at once violated and violating; with both its creator and its perceiver self-positioned as its ultimate subject. I follow a trace of the image within the context of a supposed Islam versus the West dichotomy; its construction, instrumentalization, betrayals, and incriminations. This trace sometimes forks into multiple paths, and at times loops unto itself, but eventually moves towards a traversal of a visual divide. I apply the trace as my methodology in the sense suggested by Derrida, but also as a technology for finding my way into and out of an epistemological labyrinth. The Visual Divide comprises five chapters: Chapter One presents some of the major themes of this work while attempting a theoretical account of image perception within philosophical and cross-cultural settings. I use this account to understand and undermine contemporary rhetoric (as in the works of Samuel Huntington and Bernard Lewis) that seems intent on theorizing a supposed cultural and historical dichotomies between Islam and the West. In Chapter Two, I account for slogan chants heard at Tahrir Square during the January 25 Egyptian revolution as tools to discovering a mix of technology, language and revolution that could be characterized as hybrid, plural and present at the center of which lies the human body as subject to public peril. Chapter Three analyzes a state of visual divide where photographic evidence is posited against ethnographic reality as found in postcards of nude and semi-nude Algerian Muslim women in the 19th century. I connect this state to a chain of visual oppositions that place Western superiority as its subject and which continues to our present day with the Abu Ghraib photographs and the Mohammed cartoons, etc. Chapter Four deploys the image of Mohamed al-Durra, a 3rd grader who was shot dead, on video, at a crossroads in Gaza, and the ensuing attempts to reinterpret, recreate, falsify and litigate the meaning of the video images of his death in order to propagate certain political doxa. I relate the violence against the image, by the image, and despite the image, to a state of pure war that is steeped in visuality, and which transforms the act of seeing into an act of targeting. In Chapter Five, I integrate the concept of visuality with that of the human body under peril in order to identify conditions that lead to comparative suffering or a division that views humanity as something other than unitary and of equal value. I connect the figures of der Muselmann, Shylock, Othello, the suicide bomber, and others to subvert a narrative that claims that one‘s suffering is deeper than another‘s, or that life could be valued differently depending on the place of your birth, the color of your skin, or the thickness of your accent. v Finally, in the Epilogue: Tabbouleh Deterritorialized, I look at the interconnected states of perception and remembering within diasporic contexts. Cultural identity (invoked by an encounter with tabbouleh on a restaurant menu in Orlando) is both questioned and transformed and becomes the subject of perception and negotiation.

The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.