<p>&nbsp;Acorus calamus L. је вишегодишња зељаста биљка влажних подручја, чија су лековита својства одавно позната. Дрогу иђирота чини ризом који се употребљава као чај, прах, сок, гел, уље или крема. Због прекомерне експлоатације и високог степена угрожености ове дивље лековите биљне врсте у Србији је уведена забрана његовог сакупљања из природе. Да би се задовољила повећана потражња од стране индустрија које га користе, гајење иђирота се намеће као једно од најпрагматичнијих решења. За потребе утврђивање начина гајења, прво се приступило истраживању услова успевања и варирање својстава иђирота са пет локалитета природних станишта: Обедска бара, Делиблатска пешчара, Засавица, Раковац и Дубовац. Потом је заснован двогодишњи пољски оглед на ком је испитиван утицај примене основних агротехничких мера, односно густине садње и ђубрења азотом, на својства биљака. Оглед је постављен 2013. године, на подручју засеока Ћумуране у насељу Рипањ. Код биљка са природних станишта и са огледног поља праћена су следећа својства: висина биљака, дужина ризома, број и дужина бочних грана на ризому, број пупољака на ризому и бочним гранама, број нодуса на ризому и бочним гранама, проценат суве материје ризома, маса свежег и сувог ризома, однос масе свежег и сувог ризома. Код гајених биљака праћен је и принос свежег и сувог ризома. Код свих узорака иђирота испитиван је садржај и састав етарског уља из ризома. Идентификоване су, такође, најзаступљеније компоненте и утврђен је садржаја &beta;-азарона. За утврђивање нивоа плоидије популација из Србије рађено је пребројавање хромозома. Испитивањем биљака са природних станишта, констатовано је да на већину њихових морфолошких одлика, локалитет није имао утицаја. Утицај локалитета испољен је само на: број нодуса на ризому (највећи је био у Дубовцу - 58 а најмањи на Обедској бари - 15), проценат суве материје (највећи је био у Раковцу - 50,2%, а најмањи на Делиблатској пешчари - 37,9%) и однос масе свежег и сувог ризома (највећи је на Делиблатској пешчари - 2,64, а најмањи у Раковцу - 1,90). У пољском огледу добијени су следећи резултати: висина биљака је била највећа при најмањој густини усева (35000 биљака/ha) и најмањој дози азота (60 kg/ha) дужина ризома, као и број и дужина њихових бочних грана су највећи при средњој густини садње (48000 биљака/ha) и најмањој дози азота; број пупољака на ризому има највећу вредност при најмањој густини садње и најмањој дози азота. Број пупољака прве бочне гране је био највећи на највећој густини садње (62000 биљака/ha) и при најмањој дози азота, а број нодуса на ризому није зависио од густине садње, као ни од доза ђубрења. Највећа маса свежег и сувог ризома остварена је при средњој густини садње (48000 биљака/ha) и најмањој (62000 биљака/ha) дози азота, док је проценат суве материје био највећи при највећој густини и најмањој дози азота (60 kg/ha). На однос масе свежег и сувог ризома утицај нису имали ни ђубрење ни густина</p><p>садње усева, док су приноси свежег и сувог ризома били највећи на највећој густини садње и при најмањој дози азота. Садржај етарског уља иђирота из природе није показао значајна одступања између локалитета. Садржај етарског уља ризома гајеног иђирота опадао је са порастом густине садње, док различите дозе азота нису утицале на ову особину. Максимална концентрација &beta;-азарона у етарском уљу иђирота са природног станишта била је 17,07 % (локалитет Раковац), док је највећи садржај &beta;-азарона код гајеног иђирота био 21,41 %. Повећана концентрација &beta;- азарона се објашњава интензивнијим метаболизмом азота, због повећане количине из ђубрива. обијени резултати потврђују да је концентрација &beta;-азарона у етарском уљу ризома иђирота слична резултатима из других земаља Европе. Бројањем хромозома утврђено је да иђирот припада триплоидном, европском варијетету Аcоrus cаlаmus vаr. cаlаmus.</p> / <p>&nbsp;Acorus calamus L. je višegodišnja zeljasta biljka vlažnih područja, čija su lekovita svojstva odavno poznata. Drogu iđirota čini rizom koji se upotrebljava kao čaj, prah, sok, gel, ulje ili krema. Zbog prekomerne eksploatacije i visokog stepena ugroženosti ove divlje lekovite biljne vrste u Srbiji je uvedena zabrana njegovog sakupljanja iz prirode. Da bi se zadovoljila povećana potražnja od strane industrija koje ga koriste, gajenje iđirota se nameće kao jedno od najpragmatičnijih rešenja. Za potrebe utvrđivanje načina gajenja, prvo se pristupilo istraživanju uslova uspevanja i variranje svojstava iđirota sa pet lokaliteta prirodnih staništa: Obedska bara, Deliblatska peščara, Zasavica, Rakovac i Dubovac. Potom je zasnovan dvogodišnji poljski ogled na kom je ispitivan uticaj primene osnovnih agrotehničkih mera, odnosno gustine sadnje i đubrenja azotom, na svojstva biljaka. Ogled je postavljen 2013. godine, na području zaseoka Ćumurane u naselju Ripanj. Kod biljka sa prirodnih staništa i sa oglednog polja praćena su sledeća svojstva: visina biljaka, dužina rizoma, broj i dužina bočnih grana na rizomu, broj pupoljaka na rizomu i bočnim granama, broj nodusa na rizomu i bočnim granama, procenat suve materije rizoma, masa svežeg i suvog rizoma, odnos mase svežeg i suvog rizoma. Kod gajenih biljaka praćen je i prinos svežeg i suvog rizoma. Kod svih uzoraka iđirota ispitivan je sadržaj i sastav etarskog ulja iz rizoma. Identifikovane su, takođe, najzastupljenije komponente i utvrđen je sadržaja &beta;-azarona. Za utvrđivanje nivoa ploidije populacija iz Srbije rađeno je prebrojavanje hromozoma. Ispitivanjem biljaka sa prirodnih staništa, konstatovano je da na većinu njihovih morfoloških odlika, lokalitet nije imao uticaja. Uticaj lokaliteta ispoljen je samo na: broj nodusa na rizomu (najveći je bio u Dubovcu - 58 a najmanji na Obedskoj bari - 15), procenat suve materije (najveći je bio u Rakovcu - 50,2%, a najmanji na Deliblatskoj peščari - 37,9%) i odnos mase svežeg i suvog rizoma (najveći je na Deliblatskoj peščari - 2,64, a najmanji u Rakovcu - 1,90). U poljskom ogledu dobijeni su sledeći rezultati: visina biljaka je bila najveća pri najmanjoj gustini useva (35000 biljaka/ha) i najmanjoj dozi azota (60 kg/ha) dužina rizoma, kao i broj i dužina njihovih bočnih grana su najveći pri srednjoj gustini sadnje (48000 biljaka/ha) i najmanjoj dozi azota; broj pupoljaka na rizomu ima najveću vrednost pri najmanjoj gustini sadnje i najmanjoj dozi azota. Broj pupoljaka prve bočne grane je bio najveći na najvećoj gustini sadnje (62000 biljaka/ha) i pri najmanjoj dozi azota, a broj nodusa na rizomu nije zavisio od gustine sadnje, kao ni od doza đubrenja. Najveća masa svežeg i suvog rizoma ostvarena je pri srednjoj gustini sadnje (48000 biljaka/ha) i najmanjoj (62000 biljaka/ha) dozi azota, dok je procenat suve materije bio najveći pri najvećoj gustini i najmanjoj dozi azota (60 kg/ha). Na odnos mase svežeg i suvog rizoma uticaj nisu imali ni đubrenje ni gustina</p><p>sadnje useva, dok su prinosi svežeg i suvog rizoma bili najveći na najvećoj gustini sadnje i pri najmanjoj dozi azota. Sadržaj etarskog ulja iđirota iz prirode nije pokazao značajna odstupanja između lokaliteta. Sadržaj etarskog ulja rizoma gajenog iđirota opadao je sa porastom gustine sadnje, dok različite doze azota nisu uticale na ovu osobinu. Maksimalna koncentracija &beta;-azarona u etarskom ulju iđirota sa prirodnog staništa bila je 17,07 % (lokalitet Rakovac), dok je najveći sadržaj &beta;-azarona kod gajenog iđirota bio 21,41 %. Povećana koncentracija &beta;- azarona se objašnjava intenzivnijim metabolizmom azota, zbog povećane količine iz đubriva. obijeni rezultati potvrđuju da je koncentracija &beta;-azarona u etarskom ulju rizoma iđirota slična rezultatima iz drugih zemalja Evrope. Brojanjem hromozoma utvrđeno je da iđirot pripada triploidnom, evropskom varijetetu Acorus calamus var. calamus.</p> / <p>&nbsp;&nbsp;Acorus calamus L. is a perennial herbaceous plant found in wet areas, whose medicinal properties have been long known. The drug of sweet flag is made from the rhizome which is used as tea, powder, juice, gel, oil or cream. Because of overexploitation and the high degree of endangerment of this wild medicinal plant species in Serbia collecting was banned. In order to meet the increased demand for this plant by industries that use it, cultivation of sweet flag is emerging as one of the most pragmatic solutions. For the purpose of determining the method for plant growth, the first approach was studying the growing conditions and the variation of properties of sweet flag from five natural habitats: Obedska pond, Deliblato Sands, Zasavica, Rakovac and Dubovac.After that a two-year field experiment was designed in which the effect of application of basic agrotechnical measures, i.e., different planting density and doses of nitrogen fertilization on the plants, was studied. The experiment was set up in 2013, in the area of the hamlet Ćumurana in the settlement Ripanj. In plants from natural habitats and the experiment, the following properties were measured: the height of the plants, the length of the rhizome, the number and length of lateral branches on the rhizome, the number of buds on the rhizome and lateral branches, the number of leaf scars on the rhizome and lateral branches, the percentage of dry matter of the rhizome, the mass of the fresh and the dry rhizome, the ratio of mass between the fresh and the dry rhizome. In the experiment with cultivated plants, the yield of the fresh and the dry rhizome was also measured. For all samples of sweet flag, the content and composition of the essential oil from the rhizome was measured. Also, the main components were identified and the content of the &beta;-asarone was determined. For the purposes of identifying the ploidy, i.e., which varieties the sweet flag from Serbia belongs to, counting of chromosomes was done. By examining plants from natural habitats, it was noted that the site had no influence on the majority of morphological features of plants. The impact of the sites was manifested only in the number of leaf scars (the largest number was in Dubovac-58,0 and the smallest number was in Obedska pond-15,0), percentage of dry matter (the largest percentage was in Rakovac-50.2% and the smallest percentage was in Deliblato Sands-37,9 %) and the ratio of mass between a fresh and a dry rhizome (the largest ratio was in Deliblato Sands-2,6 and the smallest ratio was in Rakovac-2,2). In the field experiment, the following results were obtained: the height of the plants is the largest at the lowest planting density (35000 plants/ha) and lowest nitrogen dosage (60 kg/ha), the length of the rhizome, as well as number and length of lateral branches of the rhizome are largest at medium planting density (48000 plants/ha) and the lowest dosage of nitrogen (60 kg/ha), the number of buds on the rhizome has the highest value at the lowest planting density (35000 plants/ha) and the lowest dosage of nitrogen (60 kg/ha). The number of buds on the first lateral branch was largest at the largest planting density (62000 plants/ha) and the lowest dosage of nitrog (60 kg/ha) , and the number of leaf scars on the rhizome does</p><p>not depend on the planting dosage or the dosage of fertilizing. The largest mass of the fresh and the dry rhizome is accomplished at medium planting density and the lowest dosage of nitrogen, while the percentage of dry matter was largest at the largest density and the lowest dosage of nitrogen. The fertilization and the crop density had no effect on the ratio of mass between the fresh and the dry rhizome, while the yields of the fresh and the dry rhizome were largest at the largest planting density and the lowest dosage of nitrogen. The content of essential oils of natural sweet flag showed no significant discrepancies between the sites. The content of essential oil of cultivated sweet flag rhizomes declined with the increase of planting density, while different nitrogen doses had no effect on this property. The maximum concentration of &beta;-asarones in the essential oil of natural sweet flag was 17,07 % (Rakovac), while the largest content of &beta;-asarones in cultivated sweet flag was 21,41 %. The larger concentration of &beta;-asarones is explained through increased nitrogen metabolism, because of increased amounts of fertilizer. The results confirm that the concentration of &beta;-asarone in the essential oil of sweet flag rhizomes is similar to the concentration of essential oil of sweet flag rhizomes from Europe. By counting the chromosomes it is established that sweet flag belongs to the triploid, European variety of Аcоrus cаlаmus vаr. cаlаmus.</p>

Michel Maffesoli and Zygmunt Bauman add the traits of Benjamin's flâneur to the (neo-)nomad, namely his "flâneur" gaze and his relation to commodities. But in the concept of nomad these traits gain specific nature - on the field of fashion they transform nomad into migrant, who is capable of creative work with vanitas. Nomad as a travelling flâneur is a stranger-guest and becomes a tourist, willingly getting lost in the city and voluntarily being surprised by unexpected encounters. Tourists relation to his memories could be described with Benjamin's description of mémoire involontaire as a revived punctum. A tourist prepares his memories like a nicely descending ruins. Souvenir is his materialised memory. It's not only a duplicated plastic Eiffel tower, but a magic artifact. It's a collective aura, what's on Benjamin's mind when he writes about aura regression. The private aura comes instead, turning things to talismans, reenchanting the world. The era of postmechanical reproduction reminds one, that there is a way to reproduce not just mechanically but biologically: a bricolage remix is made. Souvenirs descend and take shape of hommogenic rummage which reveals the fundamental form of postmodern metamorphosis: recyclation. This metamorphosis can finally be used when analyzing the settler turn into nomad...

The response of yarrow (Achillea millefolium L.) seedlings to reduced light, interference from barley (Hordeum vulgare) and some aspects of regeneration from rhizomes were the subject of investigations from 1976 until 1980. Seedlings grown under four intensities of photosynthetically active radiation (100, 46.8, 23.7 and 6.4% of full summer daylight) were harvested on six occasions and the changes with time in the logarithms of leaf area, leaf, stem, root and total dry weights per plant were described by polynomial regression equations. Relative growth (RGR), net assimilation rate (NAR), leaf area ratio (LAR), specific leaf area (SLA) and leaf weight ratio (LWR) were derived directly from the growth curves. SLA and LWR increased with increased shading causing LAR to rise, while NAR declined. Response curves of RGR on light intensity, derived from linear regressions of LAR and NAR on the logarithm of relative light intensity predicted maximum RGR to occur at light intensities which decreased with time. This was a consequence of ontogenetic changes in LAR, and changes in NAR apparently related to self shading. Linear regressions of LAR and NAR at a constant total plant dry weight of 1.62 g showed that the increase in LAR almost completely compensated for the reduction in NAR down to approximately 40% full daylight, and maximum RGR was predicted to occur at 59% full daylight. The light compensation point was estimated to be 3.6% full daylight. Yarrow populations established from 25 and 50 10 cm rhizome fragments m⁻² were grown alone and with barley at 194 or 359 plants m⁻². The barley populations were also grown alone. Growth analysis employing the regression technique showed the RGR of yarrow was reduced by barley from before jointing (Feekes Scale, Stage 6) as a consequence of reduced NAR. The NAR of yarrow was significantly reduced in the continued presence of barely, which by the time of the final barely harvest resulted in 91 and 94% reduction in the accumulated yarrow dry matter at 194 and 359 barely plants m⁻² respectively. The proportion of total dry matter allocated to seed and rhizome was also reduced by barley but the barley was unaffected by the yarrow. During the autumn and early winter, after removal of the barley, the suppressed yarrow had a higher RGR than the unsuppressed population, owing to higher LAR and NAR. Rhizome growth was vigorous during both autumn and winter in all yarrow populations, but the RGR of rhizome dry matter was higher in the suppressed yarrow during the autumn. This resulted in a progressive reduction in the difference in rhizome dry matter between suppressed and unsuppressed populations. Several aspects of the development and regenerative potential of rhizomes were investigated. In the first experiment, plants were established from seed and rhizome fragments and harvested on several occasions. Plants from both propagules formed rhizomes on which approximately 97% of auxiliary buds remained dormant, as long as the plants were undisturbed. Buds on rhizomes attached to the parent plant formed rhizome branches when the apex was damaged, had emerged from the soil, or in situations where internodes were congested. In the second experiment, rhizome fragments of 4, 8 and 16 cm in length were planted in soil at depths of 0, 2.5, 5.0, 10.0, 20.0 and 30.0 cm. All fragments on the soil surface died without forming shoots owing to desiccation whilst 100% mortality at 20 and 30 cm was probably the result of flooding. Within the 2.5 to 10.0 cm range, an increasing percentage of fragments survived (produced an aerial shoot(s)) as burial depth was reduced and fragment length increased. Within this depth range, the percentage of buds which had become active on undecayed fragments declined with increased length and burial depth. In the third experiment, single-node rhizome pieces were excised from rhizomes retrieved from field populations over a one year period, and incubated at 25°C for 10 days in darkness. More than 90% of buds formed vertical shoots throughout the year, indicating there was no period of innate dormancy in isolated buds. The effect of time of planting on the pattern of early regenerative development was assessed in the fourth experiment, in which 10 cm rhizome fragments were planted at 5 cm depth in soil on two occasions (in November and April). The developmental pattern was the same regardless of month of planting and new rhizomes were initiated at nodes on the vertical subterranean shoots when 5 to 6 aerial leaves had developed. The planted rhizome fragments declined in dry weight and a minimum weight occurred at about the time when rhizome initiation began.

The study is practice-led in visual art and it explores the impact of intermediality to validate that new knowledge emerges via processes that lead to possibilities of transformative hybridity. Intermediality was established and generated through a productive reciprocity between practice and theory as well as between analogue and digital art. The research created a community of enquiry through an exhibition entitled TRANSCODE: dialogues around intermedia practice (2011) in order to model innovative approaches towards improvement of transmedial artistic practice. The diversity of work by artists involved in this exhibition allowed exploration of a range of creative processes to investigate and understand characteristics of productive intermediality. The concept of transcoding in this study was derived from Deleuze and Guattari, which describes how one milieu functions as a foundation for another, implying an intermedial tension. TRANSCODE alludes to the mediation that transcribes meanings across boundaries and within complexity. Selected characteristics of narratives, space, embodiment and visual systems were researched through the lens of mediamatic thinking, which refers to thinking via media. The study proposes that intermediality is best seen as a construct of the tensional differences that become enriched within the grey areas. In applying Deleuze and Guattari‘s metaphor of the rhizome and Tim Ingold‘s concept of the mycelial mesh, the research project not only prompted structured collective thinking through practice, but also captured various case studies relevant to practice-led methodology. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

Submitted by Priscilla Araujo (priscilla@ibict.br) on 2018-08-01T18:27:08Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_Samba Global_Versão Final_04-06-2018_1.pdf: 20534908 bytes, checksum: 16ffbfc86cef07644457fa6c341d4062 (MD5) / Made available in DSpace on 2018-08-01T18:27:09Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_Samba Global_Versão Final_04-06-2018_1.pdf: 20534908 bytes, checksum: 16ffbfc86cef07644457fa6c341d4062 (MD5) Previous issue date: 2015-05-19 / Resultado de uma tese de doutorado, esta publicação aborda a mundialização da cultura do samba e a globalização do carnaval do Rio de Janeiro, refletindo sobre as conexões dos seus agentes nas redes sociais online e off-line, na perspectiva deleuziana da Cartografia, da produção rizomática de conhecimento, através do método da pesquisaintervenção e das vivências e experiências do autor na criação de eventos e em viagens internacionais de observação. Analisa a relação entre o samba e o carnaval, sua evolução desde a oficialização dos desfiles das escolas de samba na cidade e seu dilema no mundo contemporâneo, face a um novo cenário de capitalismo global e cognitivo. / This publication is a result of the doctorate thesis which investigates and discusses the globalization of the samba culture and that of Rio de Janeiro carnival. It reflects upon the connection between its agents in social media both online and offline, from the perspective of Deluzian cartography and the rhizomatic production of knowledge through research-intervention method, as well as through the real life experiences of the author of events he created and his international travel for observational purposes. It analyses: the relationship between samba and carnival; the evolution of samba school parades in the city since they became official; and the dilemma of confronting a new cognitive and global capitalist scenario in contemporary world.

Durant toute sa vie, Samuel Taylor Coleridge, poète et philosophe romantique anglais, a consigné ses pensées et ses réflexions sous forme de fragments dans des Notebooks, aujourd’hui regroupés dans cinq volumes. Derrière cette écriture mosaïque se dessine l’histoire d’un esprit nourri d’une insatiable curiosité pour le monde naturel et la psyché humaine. Libre de toute contrainte de structure et de genre, l’espace des Notebooks est peut-être celui qui s’ajuste le mieux au rythme si particulier de la pensée du poète. Ces textes se donnent ainsi à lire comme le reflet d’une pensée en constante évolution, qui sans cesse digresse, explore des possibles, ouvre des voies inexplorées. Cette thèse se propose donc de tenter d’en saisir les variations par une approche rythmanalytique du corpus d’étude. L’écriture des premiers carnets est essentiellement nomade, elle témoigne d’un plaisir de pérégriner, de s’ouvrir à la texture du monde. Elle se nourrit de l’énergie d’un corps en mouvement et d’une volonté d’habiter poétiquement l’espace. Toutefois, au fil du temps, le regard du poète semble peu à peu substituer le diffus et le nocturne à l’espace géopoétique ; l’écriture des Carnets se replie sur l’intime de l’être et se teinte de mélancolie. L’écriture de la mélancolie ne serait-elle pas dès lors l’envers sombre de l’écriture nomade, une écriture qui se nourrit de l’énergie du désir et de l’angoisse, et qui ne cesse de s’enrouler sur elle-même pour tendre vers ce point obscur ? Néanmoins, la mélancolie des Carnets n’est jamais synonyme d’effondrement ou de néant, elle n’appelle pas le vide mais, bien au contraire, trouve sa source d’inspiration dans une formidable vitalité pour faire advenir au jour de la parole ce qui ne se donne à voir que dans l’obscurité de la nuit. / During all his life, the English poet and romantic philosopher Samuel Taylor Coleridge secretly kept his thoughts and reflections in his Notebooks, which have been published in five volumes. This mosaic writing tells the story of a mind fed on an insatiable appetite and curiosity for the natural world and the human mind. Freed from any structural or generic constraint, the Notebooks certainly offered the poet a scriptural space well-suited for the rhythm of his thought. These texts can thus be read as the reflection of a mind constantly evolving, digressing, exploring new areas and opening new vistas. This work is an attempt to seize the variations of the Coleridgian thought by approaching rhythmically the first three volumes of the Notebooks. The writing of his first notebooks is essentially nomadic and asserts the pleasure of wandering through the natural world and delving into its texture. It feeds upon the energy of a body exploring space and of a mind struggling to inhabit the world poetically. Yet, as time passes, the poet’s gaze seems to linger more on the nocturnal sky than on the natural space. The writing of the Notebooks is then no longer the poetic substrate of the early days; it turns inward, loaded with melancholy. The writing of melancholy could therefore be seen as the darker side of the nomadic writing, one that feeds upon the energy of desire and anxiety, that takes a circumvoluted path towards this “dark spot”. Nevertheless, melancholy does not mean the annihilation of the self nor does it call for hollowness. Its source of inspiration resides in the vital force of creation which strives to bring to the light of speech that which can only be glimpsed at in the darkness of the night.

Des premières fascinations des graphistes pour les notions de systèmes, en passant par l’introduction des approches liées au « corporate design » et à la « corporate identity », le renforcement progressif du « marketing », puis le basculement vers le « branding » et la mise en valeur artificielle des marques, la recherche rend compte de l’évolution des représentations d’institutions, d’événements et de collectivités publics, entre les années 1970 et 2010. Cette chronologie des approches dominantes est analysée en écho à celle d’une série d’expérimentations personnelles liées à une approche qui se veut plus civique du design et qui permet de penser de réelles méthodes alternatives. En analysant les relations entre identification et identité, est proposé un déplacement du focus des questions de visibilité et de mise en valeur des marques vers des approches qui, à l’aide de langages visuels partagés, placent en leur centre : - l’intelligibilité des structures complexes, - la représentation des pluriels, des évolutions et des relations, - l’intégration au contexte, - la coordination des expressions multiples. / Research documenting the evolution of visual representations of institutions, events and public bodies between 1970 and 2010, from designers’intitial fascination with the concept of « corporate design » and « corporate identity » systems, the progressive reinforcement of « marketing », then the switch to « branding » and the artificial values attached to brands is chronologically analysed through a series of personal experiments related to an intentionally more civic design minded approach that permits the creation of real alternative methods. Analysing the relationship between identification and identity sees a proposed shift in focus concerning brand visibility and enhancement towards approaches that, with the help of shared visual languages, places at the centre – the intelligibility of complex structures – the representation of plurality, trends and relationships, - the integration of context – the coordination of multiple expressions.

Der Beitrag beschreibt die Vorlesungen von Büchern und Autoren von Borges’ Vorliebe, mit denen er einen antikanonischen Korpus, einen Kanon der Leser, einen Kanon als Ergebnis des Wunsches des Lesens (A. López) im Gegensatz zum Konzept des Kanons von H. Bloom (The Western Canon 1994) aufbaut, und er zeigt, dass Bloom mehrere grundlegende Begriffe von Borges über Literatur und Kanon verwendet wie „Fremdheit“ (oder „spcriptible“ nach R. Barthes), „Bewusstsein“ oder „Transtextualität“, „Macht der Kontamination“, d.h. die Fähigkeit der Absorption der Literatur der Vergangenheit und die Verfügbarkeit dieser Literatur, um neu kodifiziert zu werden und auf diese Weise Teil des Kanons zu werden. Es geht um die Strahlkraft von Borges insofern, als Bloom ihn für den Autor hält, der „offenkundig die gesamte kanonische Tradition absorbiert und dann absichtlich reflektiert“. Borges ist der Meister der Absorption in der abendländischen Welt des 20. Jahrhunderts und wird als „der literarische Metaphysiker des Zeitalters“ bezeichnet. Jahrhunderts und wird als „literarischer Metaphysiker des Zeitalters“ bezeichnet. Der Essay zeigt, wie Bloom ein nomadisches Konzept des Kanons entwickelt, das über seine eigene Ideologie hinausgeht, und dass Borges im Zentrum seines Kanonsystems steht. / El trabajo describe las lecturas predilectas de Borges que forman un corpus anticanónico, un canon de lectores, un canon del „deseo” (A. López) por el contrario al concepto de canon de H. Bloom (The Western Canon 1994). Pretendemos demostrar que Bloom recurre a una serie de conceptos fundamentales de Borges sobre la literatura y canon, tales como „strangeness” (o „spcriptible” según R. Barthes) „awareness” o „transtextualidad” , „power of contamination”, esto es, la capacidad de absorción de la literatura del pasado, la disponibilidad de ésta de dejarse recodificar y pasar así a ser canon. Se trata de la fuerza de irradiación de Borges en cuanto éste, también según Bloom, es quien „overtly absorbs and then deliberately reflects the entire canonical tradition”. Borges es el maestro de la absorción y subversión de occidente en el siglo XX por excelencia definiéndolo como „the literary metaphysian of the age”. El trabajo muestra como Bloom al fin aboga por un canon abierto y como Borges se encuentra realmente en el centro de su concepto de canon. / The essay describes the lectures of books and authors of Borges’ predilection with which he builds an anticanonical corpus, a canon of readers, a canon as result of the of desire of readings (A. López) contrary to the concept of canon by H. Bloom (The Western Canon 1994), and it shows that Bloom uses several fundamental terms from Borges about literature and canon like „strangeness” (or „spcriptible” according to R. Barthes), „awareness” or „transtextuality”, „power of contamination”, that is, the capacity of absorption of the literature of the past and the disposability of this literature to be recodified and to form, in that way, part of the canon. It concerns the power of irradiation of Borges in so far as Bloom considers him to be the author who „overtly absorbs and then deliberately reflects the entire canonical tradition”. Borges is the master of absorption in the occidental world of the 20th century and is defined as „the literary metaphysian of the age”. The essay shows how Bloom is developing a nomadic concept of canon that goes beyond his own ideology and that Borges is situated in the centre of his canon system.

No description available.

Borges ist einer der herausragenden Persönlichkeiten des 20. Jahrhunderts nicht nur als Schriftsteller, sondern als der Gründer und Wegbereiter von zentralen Theorien im Bereich der Literatur-, Kultur-, Übersetzungswissenschaften (kultureller Translation/translatio), und der Geschichtswissenschaften, und der Philosophie. Bahnbrechende und höchst innovative Denkfiguren und Verfahren wie jene der Postmodernität und der Postkolonialitat, der Dekonstruktion, des Rhizoms, der trace und der différance. Borges kündigt die Mimesis und ersetzt dies durch die Simulation und damit verbunden, die Fantastik (und ersetzt diese durch eine Anti-Fantastik oder durch digitale Welten) sowie die Intertextualität (und ersetzt diese durch eine Anti-Intertextualität oder Transtexualität). Vor dem Leser ent¬wickelt sich eine ¬‚Aben¬teuer¬rei¬se‘ durch ver¬schie¬de¬ne Zeichensysteme, die aufgrund ihrer jahrhundertelan¬gen Wieder¬ho¬¬lung ihre deno¬ta¬tive Kraft verloren haben, die nur noch die Möglichkeit einer Suche und keine an¬de-ren Sinn¬stift¬ungs¬¬möglichkeiten zulassen, sondern ledig¬lich Sinn streuen: Bei dieser Suche wer¬den die Sig¬ni¬fikanten - häufig mit einer ‘Lockmittel’-Funktion an Signifikate gekop¬pelt - dann als se¬man¬tisch leer bloßgelegt. / Borges is one of the outstanding personalities of the 20th century not only as a writer, but as the founder and pioneer of central theories in the field of literary, cultural, translation (cultural translation/translatio), and historical sciences, and philosophy. Groundbreaking and highly innovative figures of thought and procedures such as those of Postmodernity and Postcoloniality, deconstruction, rhizome, trace, and différance. Borges cancels mimesis and replaces it with simulation and, related to it, replaces Fantastic by Anti-Fantastic (or with digital worlds) and replaces with intertextuality by anti-intertextuality (or transtexuality). The reader is confronted with an ‘adventure journey’ through different sign systems, which have lost their denotive power due to their centuries of repetition, which only allow the possibility of a search and no other possibilities of creating meaning, but only scatter meaning: In this search, the signifiers - often coupled to signifieds with a 'lure' function - are then exposed as being semantically empty. / Borges es una de las personalidades más destacadas del siglo XX no sólo como escritor, sino como fundador y pionero de teorías centrales en el campo de las ciencias literarias, culturales, de la traducción (translación cultural/translatio), e históricas, y de la filosofía. Figuras de pensamiento y procedimientos revolucionarios y altamente innovadores como los de la postmodernidad y la postcolonialidad, la deconstrucción, el rizoma, la huella y la différance. Borges anula la mimesis y la sustituye por el simulacro y, relacionado con éste, sustituye lo Fantástico por lo anti-fantástico (o por los mundos digitales) y sustituye la intertextualidad por la anti-intertextualidad (o la transtexualidad). El lector se enfrenta a un “viaje de aventura” a través de diferentes sistemas de signos, que han perdido su poder denotativo debido a sus siglos de repetición, que sólo permiten la posibilidad de una búsqueda y ninguna otra posibilidad de crear significado, sino que sólo dispersan el significado: En esta búsqueda, los significantes -a menudo acoplados a los significados con una función de “anzuelo”- quedan entonces expuestos como semánticamente vacíos.