_Imagologies: Media Philosophy_ is no ordinary book. Provocative, irritating and stimulating, this is a work to be engaged, questioned and pondered. As the web of telecommunications technology spreads across the globe, the site of economic development, social change, and political struggle shifts to the realm of media and communications. In this remarkable book, Mark Taylor and Esa Saarinen challenge readers to rethink politics, economics, education, religion, architecture, and even thinking itself. When the world is wired, nothing remains the same. To (...) explore the new electronic frontier with Taylor and Saarinen is to see the world anew. A revolutionary period needs a revolutionary book. Get a head start of the 21st Century: Read _Imagologies: Media Philosophy_. (shrink)

This article aims at highlighting the specificities of Gaston Bachelard’s «La poétique de la rêverie», seen as the pivot of Motesquieu’s imaginary creation in Persian Letters. The Same and the Other are two essential terms when trying to find the place imagology plays in an intercultural approach where France and Persia are associated with an enchanted exoticism. Criteria such as space, taste, the marvellous and verisimilitude will be examined in order to analyse the images vehiculated by the perceived society (...) and by the perceiving one and to evaluate Montesquieu’s genius for social irony. (shrink)

In this paper, I will examine how films recreate memories of resistance and define, both visually and in film narration, the difference between imperial aggressors and local protagonists of resistance. The examples are taken from the Brazilian film Quilombo that describes the resistance of the 17th and 18th century Maroon communities against the onslaught of the Portuguese colonial powers (political and military). Med Hondo’s (Mauretania) Sarraounia deals with the resistance in West Africa against the Jihad of the Sokoto Fulani and (...) the (in)famous French “exploratory” expedition under the command of Voulet. Both films are based on “real” histories as they were generally communicated from the colonialist perspective. And both films present themselves as counter-discursive revisions of history. The analysis in this paper focuses on the visual representation of the resistance heroes, first isolating them from the continuity of film narration in a type of still image, thus emphasizing the contrastive imagology between aggression and resistance. In the second step, aggressors and resistors are examined in terms of how they relate socially to their fellow combatants and to their communities. The obvious difference is that the aggressors have no immediate community to relate to socially or emotionally. Particular emphasis is put on the associative and symbolic meanings of the scenic setting, in which the antagonistic characters are placed. (shrink)

Résumé L’article traite de littérature de voyage et plus particuliérement de récits de missionnaires italiens de l’ordre des Capucins, ayant ceuvré à 1’évangélisation du Royaume du Congo vers la fin du XVIIe siécle. Giovanm Antonio Cavazzi da Montecuccolo, Girolamo Merolla da Sorrento et Antonio Zucchelli da Gradisca ont un point commun, celuí d’avoir reporté dans leurs livres respectifs, des mamfestations d’aprionsmes, de violences à l’encontre des us et coutumes congolais. L’étude en offre les détails littéraires traduisant ees répressions et leurs (...) surgissements. Sur le fond, elle marque une distinction entre une narration découlant d’une violence réelle, celle de spectacles pumtifs, et une autre, imagologico-morale, expnmée en chátiments exemplaires.The objective of this research is to investigate about travel literature, particularly on the travel accounts written by the Capuchin missionaries Giovanni Antonio Cavazzi da Montecuccolo, Girolamo Merolla da Sorrento and Antonio Zucchelli da Gradisca, who participated in the Evangelization of the Kingdom of Congo in the late seventeenth century. Their texts are characterized by the recurrence to apriorisms and the use of violence toward Congolese traditions and customs. This study examines precisely the literary motifs that represents the above mentioned characteristics and, simultaneously, establishes the causes of their origin, through the distinction between narrative as a result of the real violence represented in the punitive spectacles and a imagological-moral violence, expressed through exemplary punishments. Resumen El artículo trata de literatura de viajes y más particularmente de historias de misioneros italianos de la orden de los Capuchinos, quienes trabajaron para la evangelización del Reino del Congo a fines del siglo XVII. Giovanni Antonio Cavazzi da Montecuccolo, Girolamo Merolla da Sorrento y Antonio Zucchelli da Gradisca tienen un punto en común, el de haber expresado en sus respectivos libros, manifestaciones de apriorismos y violencia contra las costumbres congoleñas. El estudio ofrece detalles literarios que reflejan estas represiones y sus emergencias. En lo sustancial, se establece una distinción entre una narración resultante de la violencia real, la de los espectáculos punitivos, y otra, imagológica-moral, expresada en castigos ejemplares. (shrink)

We almost can’t find among the countries of the East one not to praise or to display as own virtues – particular or specific – hospitality and tolerance. In fact, to project such qualities in a privileged register of categories is a part of a quasi-generalized imagologic strategy meant to valorize the positive character of some traits – ethnic, national or belonging to a group. Each country needs a favorable mythology, luxuriant in fairytales, heroes, acts of bravery, one in which (...) to be able to project its obsessions and nostalgias, composing a self image as good as possible. Is the fervor of idealization a sin? Certainly not, if the purposes are reasonable, and not subjected to some insidious ideological or propagandistic finalities. (shrink)

This article argues the main following points. (1) Communism was fatefully dependent upon the action or inaction of its top leaders because of the vulnerability of the hyper-centralized power and hyper-centralized defense of the ruling class and the ruling party. No one was really able to seriously predict the historical contingencies such as Gorbachev and Yeltsin that played a decisive role. The most that social scientists and analysts could safely claim was that communism had become unsuccessful and problematical to such (...) an extent that force alone could maintain it. However, given the overall history of communism, who could have anticipated that such force would not be used. (2) The United States is toiling now in an overwhelmingly difficult and dangerous transition, not only from a ‘superpower’ to ‘merely’ a big power, but from a totalistic and laissez-faire capitalism to a limited and state-regulated capitalism. It is the most efficacious way of production and primary distribution. However, unless capitalism, national and global, becomes regulated and combined with some kind of socialism (solidarism) that is yet to be established, global crises will keep recurring. The best chance for enlightened socialist (solidaristic) humanism lies in secondary distribution based on equality and justice as its fundamental principles. (3) The very term ‘superpower’ suggests a kind of superhuman, almost divine power. The United States does not have such power because (among other things) apocalyptic weapons are at the disposal of some considerably weaker states (in every other respect). (4) The possibility of the self-destruction of humankind has become the over-determination of all other over-determinations in history. It follows that auto-apocalypse must be separated from the categorical and epochal dichotomy between modernity/ modernism and postmodernity/postmodernism and given an absolute priority, both theoretical and practical. This break should be characterized as post-postmodernity and reflection upon it as post-postmodernism. We are in vital need of a total anti-apocalyptic turnaround in overall thought, sensitivity, activity and organization. Unfortunately, it can now safely be predicted that more and more states and societies, even those founded on (internal) freedoms and desirous to maintain them, will become transformed into states and societies focused on the struggle for survival in the face of auto-apocalyptic threats. I believe that confronted more and more with such threats liberalism will actually, and later probably also explicitly, yield the place of the fundamental operative (unlike declarative) view of the world, ideology, imagology, and principle of social organization — to humankind existentialism. We have entered an existentialist ‘end of history’ instead of the proclaimed liberalistic ‘end of history’. (shrink)

After the Second World War Albania was left under the Eastern Bloc. In 1967 Enver Hoxha, the leader of Albania from 1944 until his death in 1985, decided to implement the Chinese Cultural Revolutionary model. This article analyzes his speech, on February 6, 1967, before his comrades, who were supposed to be his eyes, ears, and mouth. It was in this way that his face, his thoughts and his words became ubiquitous throughout the country. In a highly authoritarian society political (...) discourse has a direct and pervasive impact on peoples’ lives and all aspects of the society. This article is organized by analytical themes based on aspects of discourse analysis, but we have also applied the cognitive approach and imagology as auxiliary theories in order to achieve a better understanding of mental representations, especially the ones used to reinforce stereotypes about rural people. Given that these mental representations are still fostered by current politicians in order to establish power, we note how important it still is to analyze them. Considering that political discourse is a product of individual and collective mental processes it is important to show, especially to younger generations, where these mental schemas come from. (shrink)

This paper examines some aspects of the cultural codes implied in the iconography of St Nicholas (Santa Claus). The argument posits the iconography of St Nicholas as a vessel for capturing meanings and accumulating them in the construction of public culture. The discussion begins from the earliest developments of the Christian era and proceeds to contemporary depictions (imagology). The study is conducted on the basis of a representative selection of renditions of Saint Nicholas, including 350 pictures of medieval representations (...) (Western and Eastern Christianity), folk extensions and secular representations and it is theoretically grounded in the Tartu School of semiotics. (shrink)

This paper examines some aspects of the cultural codes implied in the iconography of St Nicholas (Santa Claus). The argument posits the iconography of St Nicholas as a vessel for capturing meanings and accumulating them in the construction of public culture. The discussion begins from the earliest developments of the Christian era and proceeds to contemporary depictions (imagology). The study is conducted on the basis of a representative selection of renditions of Saint Nicholas, including 350 pictures of medieval representations (...) (Western and Eastern Christianity), folk extensions and secular representations and it is theoretically grounded in the Tartu School of semiotics. (shrink)

The article focuses the possibility of elaboration of a cross-disciplinary methodological approach to formation of the semiotics of power. Four possible forms of relation of semiotic research to the problem of power are revealed upon the basis of Drechsler’s typology. The approaches of Mandoki and Siefkes to formation of the methodological basis of the semiotics of power are analyzed and compared. The author designates the perspective directions of a further research and formulates methodological prerequisites for realization of the specified directions.

Researches conducted so far within the project Spinning out of control: rhetoric and violent conflict. Representations of 'self' - 'other' in the Yugoslav successor states focused on exploring the relations towards the Other in a state of conflict. Moreover: most of the author's and coauthors' contributions were oriented towards discourse analysis in the context of violence. Except for the peaceful dismemberment of Montenegro and Serbia, proclamation of independence of other Yugoslav states did not go without violence, to a greater or (...) lesser extent. The Other in these situations was predominantly the ethnic Other, and usually treated as enemy. For that reason, the greater part of our past work was oriented towards analysing media reports of the most stiking war events. Also, some of the contributions intentionally targeted media reportings of tense situations and those bearing the unpredictable outcomes, such as referenda or meetings discussing war and peace matters; or, we focused our inquiries on radical standpoints expressed by certain media or political parties - all that in order to explore the essencial forms of constructing and manifesting the Otherness on a rhetoric level. From a broader perspective, the analysed period, marked by the wars of ex - Yugoslavia in the last decade of 20th century, could be comprehended as the preiod of a state of emergency, where the old order had been brutally and radically destroyed and the new one was installed. In such a process, as it was shown, the relation towards the Other was also usually extreme and ethnically motivated. Now, after the constitution of seven new states where once former Yugoslavia was, new questions emerge. We are interested, as we were before, in the identity constructions, especially in the relations toward the Other, and Otherness in general, now in the period of transition and normalization of mutual relationships that these societies are undergoing. Along with the theories of ethnicity and identity construction, the key perspective remains discursive analysis. Our main question is What is happening with the phenomenon of Otherness in public discourse, in the peaceful times, or in the post conflict state? Do the ways of representing Others from the conflict times disappear, or do they 'freeze', that is to say, remain the same, or get manifested on some other levels and by different rhetorical tools? In short, what is happening with the Others in discourses that do not 'spin out of control'? Are the Others stable, mutable or flexible category and where are the imagological boundaries of Otherness? Who are the Others now? Are there any Others among us in ethnical sense? What is the nature of relation towards the common Yugoslav past, in other words, has the common past also become the Otherness for the people of former Yugoslavia? Are the 'refugees', 'cast-outs', 'displaced persons', 'returnees'... only the new names for the old display of Otherness? (shrink)

The paper examines the meanings of representations of Serbia, the Balkans and Europe at the time of encounter between Enlightenment and Romanticist traditions. The analysis starts from the assumption that the emergence of negative representations of South Eastern Europe cannot be discussed without placing it within the broader context of 18th and 19th century philosophy and literature and the consequences of new philosophical and literary ideas. Underlying the substantial change of the previously dominant paradigms that is expressed in the symbolic (...) division into 'West' and "East', there was a factual rather than symbolic division into an industrial and an agricultural Europe, whose boundaries coincided with the reference points of the symbolic distinction. Insisting on the importance of both analytic levels - the 'symbolic' and the 'factual' - the first section of the paper briefly outlines the development of symbolic geography in the context of 'Balkan' studies in the 1990s, as well as the failure of this genre and the constructivist paradigm in Serbian social theory. The second section is devoted to the discourses of conceptualizing broader communities in symbolic, linguistic, imagological, cultural, political, economic etc. terms, focusing on the beginnings of ideological and linguistic unification of South Slavs and their inclusion into the "enlightened Europe". By analyzing Vuk Stefanovia: Karadzix's writings, as well as correspondence, articles and commentaries referring to Vuk's work in the first half of the 19th century, the author takes the perspective of the past in order to identify the reasons for the failure of imagological and constructivist approach today. U ovom tekstu autorka istrazuje znacenja predstava o Srbiji, Balkanu i Evropi u vremenu susreta prosvetiteljske i romanticarske tradicije. Polaziste je u pretpostavci da se o pocecima negativnih predstava o jugoistocnom delu Evrope ne moze govoriti izvan sireg konteksta filozofije i knjizevnosti XVIII i XIX veka i posledica novih filozofskih i knjizevnih ideja. Sustinska pramena do tada vladajucih paradigmi, izrazena simbolickom podelom na 'Zapad'i 'Istok', u osnovi je imala manje simbolicku a vise fakticku podelu na industrijsku i zemljoradnicku Evropu, cije su se granice uglavnom poklapale sa referentnim tockama simbolicke distinkcije. Potencirajuci vaznost obaju nivoa u analizi, 'simbolickog 'i 'faktickog', prvi deo teksta odnosi se na sazeto predstavljanje razvoja simbolicke geografije u kontekstu studija o Balkanu devedesetih godina proslog veka, kao i na neuspeh ovog zanra i konstruktivisticke paradigme u srpskoj drustvenoj teoriji. Drugi deo teksta posvecenje diskursima osmisljavanja vecih zajednica na simbolickim, jezickim, imagoloskim, kulturnim, politickim, ekonomskim i dr. osnovama, sa fokusom na pocetke idejnog i jezickog ujedinjenja Juznih Slavena, kao i njihovog ukljucenja u prosvecenu Evropu. Analizom tekstova Vuka Stefanovica Karadzica, kao i prepiskama, clancima i komentarima koji su se odnosili na Vukov rad u prvoj polovini XIX veka, autorka iz perspektive proslosti pokusava da ukaze na razloge neuspeha imagoloskog i konstruktivistickog pristupa u savremenosti. (shrink)

Created during a certain time period of the world’s art development, fictional history embodies not only a set of individual authorial creative acts, but it is the only "artistic-historical model" conditioned by a number of objective aesthetic and non-aesthetic factors. As such, fictional history represents an integral part of the national worldview. Its exploration requires a combinatorial unity of methods. The article proposes a set of modern methodological principles for studying the processes of artistic modelling of history in the aesthetic (...) consciousness on the synchronous level and their representation in literary works. The methods of academic literary criticism are combined with the advanced methods of modern interdisciplinary humanities that are based on postmodern philosophy. Thus, in the chosen combination of the scientific approaches, the heuristic potential of the structural-semiotic and structural-typological methods, mythopoetics and myth-restoration, imagology, hermeneutics, and receptive aesthetics, correlates with the methods of systematic and descriptive analysis. Such diverse theoretical combinations, the existence of a kind of "methodological sinusoid" within the study, do not contradict but complement each other. (shrink)

The present study will introduce us into a new world of Chinese imagology in the 18th century in France. Different from the negative side of the “sinophobes” such as Montesquieu and François Melon, Sade built a universe of a perfect China in which all crimes were justified. Nevertheless, as a libertine, his point of view was also different from the famous “sinophiles”, La Mothe Le Vayer, Pierre Bayle, Leibniz or Voltaire, for example. China as imagined by Sade was full (...) of infanticide, murder and incest. The pictorial description he uses was largely drawn from the Jesuit literature of that time and some famous travelers’ “relation”, time of the famous theological quarrels about the ritual, easily interested Sade. But, was Sade faithful to these sources or not? Could a libertine moralize about public denunciation? By this foreign image as a mirror, what did he want to explain, taking China as an example, for his own culture? We will give the answers in this article. (shrink)

Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to be (...) more connected with different attitudes towards universal references lying within human cognitive abilities. Horace’s didactic opposition of contradictory patterns leads to the victory of one of them — and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition. (shrink)

Resumo: O clássico cultural chinês Chuang Tzu foi amplamente traduzido para versões em inglês, durante o século passado. Como resultado, essas traduções em inglês refletem, parcialmente, a conceituação da China antiga que mudou, ao longo do tempo, entre os falantes de inglês de outras nações. Desse modo, o presente artigo investiga as imagens reconstruídas da China antiga, tal como se manifestam nas refrações e transcriações das traduções inglesas de Chuang Tzu, as quais foram interpretadas por tradutores estrangeiros, a partir da (...) perspectiva da imagologia na literatura comparada. Todos esses fatos contribuíram para a descoberta de inúmeras imagens nacionais, através da exploração de Chuang Tzu do mundo anglófono, incluindo uma China antiga mestiça, uma China antiga misteriosa, uma China antiga ecológica e uma China antiga multifacetada. O mecanismo operacional da comunicação translacional sino-estrangeira foi elucidado através de um exame cuidadoso das variações das imagens, a fim de melhor compreender como os ocidentais constroem sua percepção geral sobre a nação oriental. (shrink)

The article provides an analysis of the “Spanish code” inscribed in the text of Lesia Ukrainka’s drama Kaminnyi hospodar. The constituents of the code include: 1) conventions of 17th century Spanish baroque drama, in particular, use of the dialectics of the concepts of dignity and reputation as a driving mechanism for confl ict throughout Lesia Ukrainka’s play and transformation within the classical scheme of characters suggested by Lope de Vega and his followers; 2) stereotypes of “Spanishness” through which the playwright (...) produced a heteroimage of Spain. Lesia Ukrainka’s variant of the famous legend of Don Juan is a sophisticated modernist drama. The “Spanish code” serves as a prism through which the playwright examines the world. Lesia Ukrainka created an astonishing modernist tragicomedy of dishonesty, full of the spirit of uncertainty. (shrink)