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This article examines how the press in Argentina, Peru, Spain, France, and Austria, using photographic images, reported on the coup d'état of September 11, 1973, in Chile. We conducted a qualitative study analyzing 358 photographs from 13 international newspapers published between September 12 and October 17, 1973. The results show diverse visual narratives that describe the breakdown of Chilean democracy through references to the Popular Unity government, the coup, and the beginning of the dictatorship.

Dans mes recherches sur cette philosophie, je me suis rendu compte que les grands écrivains du cinéma et de l’image, de la philosophie, de la sociologie et de l’anthropologie, de la psychologie et de la neurologie, et les critiques apportent tous des réponses aux questions du genre. Qu’est-ce qu’un film, à quoi sert telle ou telle image, et une explication concrète de comment filmer tel ou tel motif ici et là. Ce qui rend cela important pour la poursuite de la recherche et de l’expertise, c’est la lecture des images et la capacité de comprendre l’espace créé par le magicien, où les images sont vues et intégrées dans des scénarios, et de lire ces représentations pour comprendre le magicien.

In the present work it will be possible to trace a common thread that has characterized the work with this patient for about eight years, highlighting some changes in the patient, in the analyst and in the analytic relationship. In this sense, scheme A of this article presents itself as a hypothesis of the functioning of the analyst- patient relationship in a precise moment of the analytic process, which, thanks to the non-confusional psychic contact, would seem to have allowed the patient to escape from an important state regressive. The hypothesis is based on clinical evidence relating to the development of the Jungian concept of synchronicity. [ABSTRACT FROM AUTHOR]

In his second book on being and event, Logics of Worlds, Alain Badiou describes Plato’s late dialogue, The Sophist as “one of the first transcendental inquiries in the history of thought”. In this dialogue, Plato introduces what he calls the Idea of the Other, the possibility of a being of non-being, an inevitable break with the Parmenidean tradition. However, according to Badiou, Plato fails to provide an example of how this Idea of the Other can manifest itself or be effective in a world, or in other words, appear. This paper argues that not only there is such an example in Plato’s Sophist, namely, the phantasma, but also that it can be strongly related to Badiou’s philosophical system.

The purpose of this article is to provoke discussion on the worship of images depicting saints. However, it is not about defending this worship, since this issue has already been definitively settled by the Church. Instead, the article concerns a new problem – the controversies that arose in connection with some modern depictions of saints, mainly in painting. The mildest of these controversies involve paintings, often made on the basis of surviving photographs, showing saints during their ordinary everyday activities, e.g. while working or resting. A much sharper polarization of opinions occurs when the painting reveals the ethos of the saint with all realism, that is including also their imperfections, and even sin. Can such a saint be an object of veneration which, after all, inherently entails following them as role models? Is such veneration not an acceptance and promotion of flaws that contradict biblical morality? Can such images serve a didactic function? Instead, wouldn’t a certain idealization be advisable – the portrayal of a saint as someone perfect, excluding their flaws and weaknesses? The author takes a position on these controversies by formulating criteria for “good” images based on the theological and moral principles of their worship and an analysis of their functions.

In the city of Buenos Aires at the beginning of the 20th century, a police publication entitled Galería de Ladrones Conocidos was released. It compiled a series of photographic portraits and filiation data of suspects and recidivists who frequented police stations. By revealing the relationships and tensions between racial categories and photographs, I will analyze how police classifications configure a dynamic of hyper-embrace visual whiteness. At the same time, the paper presents the idea of mestizo images which makes it possible to dislocate the hegemonic notion of miscegenation conceived as a process of social whitening.

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In an age when the global dissemination of digital information is transforming the way we read and write by foregrounding the interdependence of visual/verbal elements and languages, the reconstruction of identity and history in digital environments challenges binary translation processes. From this perspective, we interrogate the integration of visual and verbal elements in three Wikipedia articles, written in Polish, English, and Portuguese, about the topic “Polish death camp”. What is the role of translation in the semiotic construction of historical discourses in these articles? What are the conflicts generated by translated denominations? How do Wikipedia communities engage with the production of these cognitive representations? This paper attempts to answer these questions.

L’articolo discute la capacità del disegno e delle rappresentazioni visive di assumere forti valenze simboliche e ideologiche, al punto da venire stigmatizzate e da assumere connotazioni eretiche. In particolare l’articolo evidenzierà come la proibizione dell’espressione grafico-visiva riesce a stimolare nuove forme artistiche, incanalando l’ineluttabile necessità di comunicazione iconica della natura umana verso nuovi orizzonti di sperimentazione. Dalle più note tradizioni iconoclaste della cultura bizantina, protestante e islamica ai più attuali fenomeni di cancel culture legati all’affermazione di movimenti politico-ideologici e ai revisionismi storici, la censura, la rimozione e la distruzione di immagini e rappresentazioni visive nelle loro più diverse declinazioni diventano lo strumento più efficace per rendere tangibile il cambiamento delle idee e per influenzare l’opinione pubblica. Per la stessa potenza ed efficacia che le ha rese da sempre strumento privilegiato di trasmissione della conoscenza e del sapere, di apprendimento e di propaganda nei diversi ambiti della società, le immagini finiscono con il diventare il più facile bersaglio da colpire per comunicare al pubblico le contrapposizioni e le discontinuità culturali. Le caricature eretiche pubblicate sul giornale francese Charlie Ebdo, le statue dei Budda di Bamyan, i memoriali dedicati ai Confederate States of America, sono solo gli episodi più recenti di quel fenomeno che Bruno Latour definische iconoclash. ovvero il rapporto cnflittuale tra produzione e distruzione delle immagini nei diversi campi della religione, della politica, della scienza e dell' arte, che in questo articolo verrà indagato sulla base dei diversi casi di studio individuati sia nella tradizione storica che nella più recente attualità.

In this paper, I investigate the relationship between the text and the images in medieval Latin bestiary manuscripts. Medieval bestiaries, which are derived from the ancient Physiologus, comprise a nearly 1800-year-old tradition and have spawned several hundreds of copies throughout Europe, including a smaller subset of Latin bestiaries. Summarizing the first ever comprehensive analysis of the entire corpus of Latin bestiaries, this paper examines the patterns of deviations, or exceptions from the rigorous canon governing bestiary illustrations. I use the deviations to investigate the relationship between the work of the scribe and that of the artist in the production of bestiary manuscripts in order to determine to what extent medieval artists used already existing illustrations, and, conversely, when and to what extent they were willing or able to deviate from the canon. In the latter case, I try to explore the artist’s possible motivations, as well as the reasons for choosing specific motifs.

This article is about divine animals in Egypt; of the comments they deserved from renowned Greco-Latin authors; of the reasons for its use. It also deals with some divine animals in Christianity and the survival of certain Egyptian iconographic motifs in the Middle Ages.

Leader article of Pre-Modern “Pop Cultures”? Images and Objects Around the Mediterranean (350-1918 CE). The aim of this monography is to analyze, from the most significant images and objects, to the traditions that have accompanied us to this day.

This paper analyses the military use of holy relics, images, and other Christian apotropaic devices in the Roman-Persian wars. I examine a wide range of literary evidence from the 4th to the 7th century exploring where, why, and how different Christian objects were used in military contexts. Moreover, I consider different factors, as the local religious practices or the rivalry between the Christian Roman Empire and Zoroastrian Persia. I argue that the earliest military uses of relics and holy images happened in the context of the Roman-Persian conflict and frontier region, and that, during the 4th-7th centuries, these uses were much more common there than anywhere else. Also, that some local practices of this region could have been adopted by military officers and the Imperial elite. I propose that three factors could explain this: First, the intensity of the cult of relics and images in Syria and the Near East. Second, the growing identification of the Roman Empire as a Christian power between the 4th and 7th centuries. Finally, the Roman-Persian conflict and the climate of religious confrontation that grew over the course of the Byzantine-Sassanian wars.

We propose some considerations on the theme of memory through the reading of Cicero's Verrines, fundamental sources, with the archaeological ones, for the study of Sicily during the late Republican period. The dispersion caused by the art thefts of Verre constitutes a destructive process of the memory, based on the images, linked inextricably to their context. The message of the Verrines is still actual especially regarded to clandestine trade of artworks. [ABSTRACT FROM AUTHOR]

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In his essay Theory of Prose Shklovsky defines Andrej Belyj "the most interesting writer of our time" dedicating an entire chapter to him in which he dwells in particular on Kotik Letaev's "ornamental prose". The work is taken as an example by the scholar as a typical case of the pre-eminence of the material on pre-established ideologies such as Belyj's anthroposophy. Although not directly mentioned by Shklovsky, the originality of the subject and the point of view, the treatment of the plot and the verbal structure make Kotik Letaev one of the most representative works to highlight the use of the artifice of ostranenie through the particular treatment of images filtered by childlike perception. The contribution aims to emphasize the strange aspects of the reality recreated and transmitted through the "mimic-gestural" language of a child who composes his own discovery of the world starting from unexpected sounds and images that literally present the usual as "seen for the first time".

This paper starts with a preliminary reflection on the broader field of “mystery cults”, which are characterized by a ban on divulgation and the incommunicability of experience. The “mysteries” of Mithras present a further difficulty: their images, built within Roman contexts, lack the visual markers of the Greek “mystery cult” tradition. Moreover, the epigraphical evidence for the worshippers of Mithras does not mention “mysteries”. The second and longer section of the paper addresses the few frescoes that were interpreted as depictions of initiation rituals inside three mithraea and on an adorned krater. It first recalls the main approaches to the interpretation of these images (historiography, anthropological approach, semiotic reading), and then argues that these images intended to display to the viewers (insiders/initiates) a sense of grouping and of contrasted agencies within the groups, to different extents in each mithraeum. By focusing on a case-study from Caesarea Maritima, it proposes to identify the three different ways through which a religious group might give an image both of itself and to itself: a collective ritual (i.e. a procession), the initiation as a transmission (without a special terrifying ambiance), and a mythological narrative on the deity who protects the group.

Enzo Traverso's new book on the revolutions that took place in the two centuries between the storming of the Bastille and the fall of the Berlin Wall is an attempt to apply Walter Benjamin's evocative methodology to the subject. More than revolutions, therefore, the book deals with its representations, which are images but then also memories and texts, in a vaguely nostalgic kaleidoscope of memories and perceptions. Extremely rich and intelligent, Traverso's work does not, however, address the crucial nodes that stem from that history, does not fully come to terms with the Bolshevik tradition and avoids placing the decisive issue of historical truth at the centre of the argument. [ABSTRACT FROM AUTHOR]

This paper proposes some thoughts on pictorial image, which includes poetic imagination. Art and philosophy, pictorial image and poetic reason are always and inextricably linked to the ethical sphere, since human beings tend to the aesthetic achievement of what they do in their life as an essential component of their being persons, hence of their ethical dimension. That is why the unity of the whole aesthetic vision revolves around a concrete center of values which can be thought, seen, loved. The aim of the paper is to go beyond a mere aesthetic vision and to attain the ethical core of the existence of human creatures. The starting point is provided by María Zambrano’s persuasive and fascinating words in A Visit to the Prado Museum, where she becomes the narrative voice of her dialogue with her young friend Ulises.

There is a path stretching over two thousand years, from the awareness of shadows projected onto the back of a cave through to cinematic images. They are "real images", those that concentrate light energy and can be captured on a screen. We will examine just one fragment of this long story, which takes place in the Mediterranean and the Far East, from the birth of Western thought in Greece to the assimilation of Hellenistic culture into Arab culture. Finally, we will come to their spread through Europe in the medieval and early modern age. With Leonardo da Vinci's description of the camera obscura, the world of optics would become explicitly bound up with that of the emotions, paving the way for an unstoppable process in which images would first be fixed through photography and then freed in movement.

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This contribution seeks to draw attention to the management of visual feedback processes to promote active learning within the scope of university didactics. Specifically, the focus is on the production of feedback-images by the students in e-learning platforms, with particular reference to their impact of learning and on the motivational dimension. For this purpose, an experimentation is presented within an e-learning university training pathway, finalised to understanding how feedback of a visual nature can support from the cognitive, socio-relational and emotional point of view the students’ learning processes. Immagini-feedback nella didattica universitaria. Questo contributo vuole fermare l’attenzione sulla gestione dei processi di feedback visivi per promuovere apprendimenti attivi nell’ambito della didattica universitaria. Nello specifico, il focus è rivolto alla produzione di immagini-feedback da parte degli studenti all’interno di piattaforme e-learning, con particolare riferimento al loro impatto sull’apprendimento e sulla dimensione motivazionale. A questo scopo viene presentata una sperimentazione effettuata all’interno di un percorso formativo universitario e-learning, finalizzata a comprendere come i feedback di natura visuale possono sostenere da un punto di vista cognitivo, socio-relazionale ed emotivo il processo di apprendimento degli studenti.

Tensegrity, multivocity and the ethics of images When transposed to the field of philosophy, the notion of tensegrity can become the matrix to justify an approach to reality, based on the contextual action of several factors. This specificity is shown with reference to the photographs of patients allegedly hysterical, photographed at the end of the nineteenth century in the Hospital Salpêtrière in Paris. The ethics of images is anchored in this possibility. In fact, it is not indifferent with respect to both the modalities in which a knowledge can be correctly configured, and with respect to the role of the subject-spectator in such an operation.

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Starting from the analysis of a poem by the Turkishpoet Nâzim Hikmet, the article aims to meditates on the value and the strength of the poetical images in Bachelard's conception, on how it is possible to understand the specific reality of poetical images, namely, to 'live it' in its authenticity, given the transfiguring, distorting intention of imagining images. Therefore, in Bachelard, the difference between the psychic experience and the image is clear: the image is not the ordinary story of a life, but the means that allows us to enter life itself, summarising and showing it. Here the archetypal function of images can be outlined as well as the reason for their opening up a world. For this reason, Bachelard's foundation of the poetical language lies in its relationship with the image. [ABSTRACT FROM AUTHOR]

Are we right in thinking that "proper" philological texts are only written and / or oral ones? In actual fact, culture is also received through sight. And so, we must ask ourselves whether philology's horizon should be broadened to also encompass what is visual. Such an approach makes it possible not only to reconstruct receptive strands of stories and texts, but even to discover that images define texts, help to interpret them and are more than just a mere translation of words. [ABSTRACT FROM AUTHOR]

A "classic" movie that we review, creates in our mind something new, determining emotions, that are linked to something of our unconscious life. Parts of us, emotional experiences, lived, thought and removed, but also lived and, however, do not think, not removed, and that, through the story, the characters, the images of the film come to our minds, sometimes surprising us. [ABSTRACT FROM AUTHOR]

Little is known about the ‘material’ equipment of the early missionaries who set out to evangelize pagans and apostates, since the authors of the sources focused mainly on the successes (or failures) of the missions. Information concerning the ‘infrastructure’ of missions is rather occasional and of fragmentary nature. The major part in the process of evangelization must have been played by the spoken word preached indirectly or through an interpreter, at least in the areas and milieus remote from the centers of ancient civilization. It could not have been otherwise when coming into contact with communities which did not know the art of reading, still less writing. A little more attention is devoted to the other two media, that is, the written word and the images. The significance of the written word was manifold, and – at least as the basic liturgical books are concerned (the missal, the evangeliary?) – the manuscripts were indispensable elements of missionaries’ equipment. In certain circumstances the books which the missionaries had at their disposal could acquire special – even magical – significance, the most comprehensible to the Christianized people (the examples given: the evangeliary of St. Winfried-Boniface in the face of death at the hands of a pagan Frisian, the episode with a manuscript in the story of Anskar’s mission written by Rimbert). The role of the plastic art representations (images) during the missions is much less frequently mentioned in the sources. After quoting a few relevant examples (Bede the Venerable, Ermoldus Nigellus, Paul the Deacon, Thietmar of Merseburg), the author also cites an interesting, although not entirely successful, attempt to use drama to instruct the Livonians in the faith while converting them to Christianity, which was reported by Henry of Latvia.

This article explores the hypervisibility of women’s gendered bodies circulating within modernist print culture. How are these bodies imaged and imagined? How are these bodies mystified and gendered? What kinds of violence do these constructions of feminine embodiment do to authorial bodies? I argue that the print circulation of several prominent modernist female editors and authors underscores the gendered marketing of modernism and the unsettling embodiment of these women within advertisements of their work. Many of these cases construct an uncanny doubleness in the authorial image: at once a heightened embodiment and an increased abstraction. I argue that the marketing of these women authors often leads to haunted and ghostly effects through this double edge that positions the female modernist as simultaneously mythical and manifest, concrete and spectral, material and abstract.

Focusing on images and affects surrounding temporality, this essay is an attempt to reflect on time itself as an experiential, qualitative category, in the midst of a time in American political culture that is by all accounts tense, uncertain, “interesting,” and (above all) crazy.

This is the text of the Claudio Rozzoni's interview with Jorge Molder that took place in Portuguese on June 21, 2018, at the artist's atelier in Lisbon. English translation by Claudio Rozzoni.

The purpose of this article consists in finding recurrent iconographies in urban riots during Contemporary History. After a brief description of what can be considered a riot nowadays, it analyzes visual material that represents the most known social protests in contemporary History. From the French riots in 1830 and 1848 to the most recent events such as G8 Summit of Genoa, banlieues riots, Arab Spring, and so on. To do so, the paper is supported by a lot of different visual sources: paintings and newspaper's illustrations, photos and digital media. In fact, this iconographic research also deals with new media's images, such as videogames, social media, Google. The focus of this paper is to find and analyze the recurring patterns of urban riots' representations, that can be found through centuries and different visual materials. From the already mentioned traditional media to the new digital ones, any urban riot has common elements which are interesting to explore and deeply analyze. [ABSTRACT FROM AUTHOR]

The article intends to highlight how the transition from monarchy to republic represents a significant boundary in Italian history not only from the institutional point of view but also from that of national political propaganda, in which words and images - the expression of a harsh ideological confrontation - contributed to the building of a national collective memory of which there are still evident and rooted traces in current political confrontation. [ABSTRACT FROM AUTHOR]

The article is about three major themes: the political imaginary, the border as a space from which it spreads, the images, that convey and reproducing it, cause social reality. This last part was developed by the analysis of a specific case study. In this work the author investigates how the sense of political e collective identity and the social construction comes out by the analysis of the most web popular migrants images in Lampedusa (the most extreme border of the EU).

The religious vein of poetry was interested in an essential figure in fact the Mouhamad prophet. This last gave birth to the poem-song: The Prophet or the heart with the breadhands of Amadou Lamine Sall where it is question primarily of praise and praises belonging to the epidictic one. It is by this title enough symbolic that the poet rents the size of the prophet through many figures of images, of symbols, magnifies its attributes, its works. The variations of the epidictic speech on the prophet of Islam are perceptible in the choice of the lexical items and their parabolic and allusive places.

With every historical epoch comes a different way of thinking, a different way of seeing, capable of identifying the fundamental elements of a change of paradigm. Any discussion of ‘paradigm’ in relation to the contemporary world must include the development of the digital realm and its technological apparatus, which transform vision and influence how we perceive the world. Central to this development has been the emergence of myriad new forms of communication and a culture of sharing life, which characterize the process of seeing.Technology opens up new horizons in terms of how we expose our presence in the world: via digital photography and video, in every instant of everyday life we are in a position to expose our social world, the fragments of our existence. This cultural effect is not merely a consequence of ways of structuring existence, but also constitutes a change in the way we think about our relationship with the world. Every cultural and technical change brings together a variation of thought and perception, and this represents a basis on which to understand and interrogate the continual mutation of our social imaginary and the process of building, producing and transforming the Real.

These lines are devoted to observing the conditions by which the breakdown of the representational composition occurs through certain spatialization’s strategies of significance. We will begin by tracing a genesis concerning the intrinsic ambiguity of the trace or the signal, to attend then to the emergence of the opacity of the linguistic signs when the immediacy of the evidence is obstructed; finally we will dwell on how painting has contributed, in the modern conquest of its sovereignty, to obstruct the transparency of referentiality through the visualization of writing. The tricks of the god Hermes, the pages of Nietzsche on Truth and lie in Extramoral Sense and a few images "composed" by Magritte through figures and legends constitute the episodes that will be followed here. Queste linee sono dedicate all'osservazione delle condizioni in base alle quali la scomposizione della composizione rappresentazionale avviene attraverso le strategie di significatività di certe spazializzazioni. Inizieremo tracciando una genesi riguardante l'intrinseca ambiguità della traccia o del segnale, per assistere poi all'emergere dell'opacità dei segni linguistici quando l'immediatezza dell'evidenza è ostruita; infine ci soffermeremo su come la pittura abbia contribuito, nella conquista moderna della sua sovranità, a ostacolare la trasparenza della referenzialità attraverso la visualizzazione della scrittura. I trucchi del dio Hermes, le pagine di Nietzsche Su verità e menzogna in senso extra-morale e alcune immagini "composte" da Magritte attraverso figure e leggende costituiscono gli episodi che verranno seguiti qui.

Why do humans create images and what are their features that make them special? How are image-making and the uses of images related? What is the purpose of images? The “problem of images” is addressed through the lens of contemporary neuroscience, arguing why and how neuroscience can investigate our relationship with art and aesthetics, framing this empirical approach as “experimental aesthetics.” Recent discoveries are presented that changed our ideas about perception, action, and cognition and the relationship among them, allowing a new look—complementary to the humanistic approach—at the problem of images. A new model of perception and cognition is proposed, called embodied simulation, which reveals the constitutive relationship between brain-body and the reception of human creative expressions.

Il saggio offre un’analisi semiologica della funzione discorsiva e narrativa manifestata da alcuni elementi (con particolare riguardo a immagini e hashtags) del racconto mediatico degli eventi occorsi in Iran durante quella che nel 2009 fu appellata “rivoluzione Twitter”.

The intent of this paper is to explore the importance of the images in Carroll’s work and the increase in meaning they bring to the written text. Therefore, some illustrations by Carroll in the manuscript Alice’s Adventures Under Ground and others by Tenniel in Alice’s Adventures in Wonderland are analysed, focusing on the similarities and differences between the author/artist and his illustrator.

Windows opened on the world, International Exhibitions provide public representations of the countries that are often idealized, especially when financial profitability considerations are involved, because it usually incites organizers to find “exotic” attractions to reach success. For many countries it’s a necessity to be represented at their best, both for economic, commercial or diplomatic issues. For this ambition they are also forced to choose which representation of themselves they want to show, and sometimes that turns into a caricature. Through the example of several Latin American countries (Mexico, Peru, Argentina…), we will see the “factory image” at work, showing the different strategies adopted by the participating countries and the dangers and disappointments they run into.

Can a material object refer to the divine without attracting to itself devotion and veneration? And, in particular, can a depiction call to mind a reality that subtracts itself from its materiality? There are thus two problems here: whether the divine (God and what pertains to Him) can be rightly said to be represented by an object and whether, in any case, such an object runs the risk of becoming an idol, a little God, an imitation of God. The paper concentrates on the history of the status of images, depending on religions, and the recurrent idea of taking necessarily away the “others”. People belonging to “other” religions are regarded as guilty, idolater, heretic, far away from the true God and the best practises to adore Him. A central year is the 787 CE, for the Nicea II Council, but also for the reactions about it. With all the Platonic-Augustinian suspicion of fictions, the so-called Libri Carolini apportions to images the sole role of bringing to mind the materiality of what is represented thus denying the power of referring to the supersensible: paradoxically, the more an image is “true” and the greater the similarity between the image and its object, the greater is its freight of falsity, insofar as it increases the deception worked on the spectator. The ideas of the Carolingian court cannot be divorced from an artistic production that tended ever more to disconnect a precise meaning from the images made in stone or with the brush, and in due course increasingly regarded sacred history as a pretext for proposing imagines formosae.

Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations. Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.

The intent of this paper is to explore the importance of the images in Carroll's work and the increase in meaning they bring to the written text. Therefore, some illustrations by Carroll in the manuscript Alice's Adventures Under Ground and others by Tenniel in Alice's Adventures in Wonderland are analysed, focusing on the similarities and differences between the author/artist and his illustrator. [ABSTRACT FROM AUTHOR]

The aim of this study is to illustrate the discursive and promotional strategies that luxury tour operators use on Facebook. For this purpose, Facebook posts published on the official pages of luxury tour operators were compared with posts published by general or budget tour operators on their own pages. The posts were analysed both quantitatively and qualitatively in terms of their content, images used, and linguistic features. The results suggest that luxury tour operators use their official Facebook pages like a catalogue of destinations, whereas general and budget tour operators use their pages to engage clients in forms of (social) interaction and to create a community. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Holy martyrs by the name of Phokas, a gardener and a bishop, both from Sinope, were not frequently portrayed in the Eastern Christian world. They were sometimes depicted with objects relating them to seafaring, and the holy bishop in particular was shown holding a paddle. The source of such images can be traced to the writings devoted to the martyrs. The issue of why the holy bishop was depicted mainly in the Byzantine empire and the Russian principality is also discussed. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]