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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 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.

The project “Art that creates places” aims to study the impact of images in the Mayan built environment and the ability of these images to inscribe or materialize a meaning in space by splicing with the connotations and the functional utilities of architectural forms and other environmental elements. In this research note, are presented the first drawings of the Substructure II C sculptural program al Calakmul, and a brief discussion about the scenes’ content is offered. In addition, the possible functioning of images as a whole and their participation in creating a sense of a place are explored.

There are phenomena of Chan Buddhism as philosophical and religious dogma and embodiment of its rules in the center of the article. Study object is poetry of monks and nuns written during Song dynasty (lyrics of Dumu Jingang, Zhenru, Daoqian and Daoqiang). The study is based on the works of the Chinese (Hu Shih), Ukrainian (N. S. Isaieva), Russian (M.I. Vorobyova-Desyatovskaya, M.S. Ulanov), French (H.Ciхоus, C. Clement), Germany (S. Weigel) and American (N. Miller) researchers. However, in the same time we have noticed lack of the works addressed to analysis of the Chan poetry, its’ themes, images and symbols, so this space is ready and open for follow-up study. The main purpose of the article is to highlight the common and distinctive features of poetic works written by women and men as well as to designate level of themes transformation specific for Chan Buddhist poetry written by nuns and monks of Song Dynasty after analyzing meanings and poetics of their poetry. To achieve this goal, several methods were used – hermeneutic, historical and cultural, historical and literary, comparative methods as well as semantic and poetical analysis. This methodological base allow considering the lyrics of monks and nuns through the prism of the right explanation. Moreover, it help us to analyze gender and religious components, so we have highlighted the characteristics that are common and different for the Buddhist poetry of women and men. The article claims that particulary interesting point for researchers in feminist literary studies is the question of whether the text of a female author is different from the text of a male author. The French theorist of feminist literary studies E. Cixоus and the American psychologist N. Miller argue that the «female style» exists, but it is quite difficult to describe. According to the German literary critic S. Weigel and Doctor of Philology N.S. Isaeva, there are certain specific features that are inherent in works of art written by women (discontinuity, indentation, inconsistency, subjectivity, the desire for pleasure, the description of their own feelings), and for works written by men (logic, regularity, objectivity). If take a look at the issue of «female» and «male» style from the standpoint of Chan Buddhism, the closest position will be a completely different one. In some theoretical works concerning «feminine» it has been repeatedly emphasized that it does not oppose «masculine», because «feminine» by its nature denies the binary, dichotomy and hierarchy of created structures (including textual). Similarly, the chan denies any opposition and contrast. The results of our research show that Chan Buddhist poetry has a lot of themes created by using Chan Buddhist images and symbols. We have established that due to approach of Chan women and men are collateral because there is no dualism in the world, but after conducting a gender study we found that despite the principles of Chan Buddhism, it is still possible to identify similar and different features in the poetry of monks and nuns. We have found some transformation in the poetry written by men and women: at the level of themes, at the level of stylistic devices, as well as in the emotional component of poetry. Firstly, there are some themes which are found only in the poetry of monks: the theme of equality of everyone in front of Buddhist teachings, the theme of solitude (loneliness) or the theme of excommunication from the vain world, the theme of liberation from suffering (worries and attachments), the theme of meditative practices, the theme of accessibility of Chan teachings for everyone, the theme of suffering, the theme of harmony. Accordingly, in the lyrics of the nuns we found out the theme of joy, the theme of death, the theme of illusory contradictions. Secondly, there are small amount of stylistic devices in the Chan lyrics, but, despite this, we have concluded that only epithets are common to both the poems of monks and the poems of nuns. Antithesis and rhetorical questions are a sign of «male» style, and hyperbole is inherent in «female» style. Thirdly, the poetry of monks are objective and rational, what is a characteristic of «male» literature, while the poems of nuns are characterized by subjectivity and sensuality, what is a characteristic of «female» literature. On the contrary, we have detected that some themes are common for the monks’ and nuns’ poetry: theme of life’s worldliness, theme of meditation, theme of ease and lightness, theme of contradictions’ illusory, theme of isolation and solitude, theme of separation people to Chan Buddhists and laymen. To embody these themes authors used different images and symbols and such variety of stylistic devices shows that individual styles of writing in Chan Buddhism exist even though it may seem impossible in religious poetry, which conveys ideas of the certain religious doctrine. In summary, there is a plenty of Chan lyrics that have not been researches by Chinese scientists. Moreover, this poetry haven’t even been translated into other languages, hence, haven’t been analyzed and expounded by not Chinese researchers, so it is long-rage field to be researched.

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.

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.

Como as imagens fazem você pensar sobre a religião? This question was send to me by Rodrigo Toniol, organizer of the Jornadas sobre Alternativas Religiosas na América Latina in Rio de Janeiro, and was to be at the heart of a public dialogue with my colleague Hugo José Suárez. The rather general formulation of the question could obviously lead us into a whole lot of different directions: how are one’s thoughts provoked by saintly statues, byzantine mosaics, buddhist mandalas, Islamic calligraphy? How to understand the materiality of religion? Or how to understand religious prohibitions of making images? Yet I immediately took up Rodrigo’s question as an invitation to reflect on my move from being an anthropologist who writes about religion to an anthropologist who films religion. Not in the least because camera-based research and image making was the immediate common ground with Hugo.

L’image photographique, souvent insérée virtuellement ou réellement dans la narration leclézienne lui confère une profondeur sémantique et esthétique. De par son caractère visuel, la photographie littéraire, sert une cause publicitaire dans une société de forte consommation, favorise la réminiscence mémorielle et constitue une source d’inspiration créatrice. Certaines héroïneslecléziennes sont porteuses de la puissance de la photographie. L’écriture de cet auteur baigne dans une esthétique fortement postmoderne.Cette contribution montre comment la lecture médiatique inscrite dans le champ de l’intermédialité montre sa capacité à rendre compte de manière efficace du texte romanesque de le clezio. L’intermédialité, paradigme à la fois de création littéraire et de lecture favorise d’abord l’inventaire et l’identification des médias en présence, en suite l’analyse de l’impact de ces présences médiatiques sur l’esthétique et construction textuelle et ensuite l’exploration des significations attachées à ces présences en terme d’idéologie. L’objectif est de montrer de l’écriture romanesque de le clezio est d’une hybridité nourrie aux sources des éléments médiatiques modernes.

ABSTRACT New, efficient, low-cost techniques for image processing and alternative machine learning for seed processing are of academic and industrial interest. This study aims to identify fissures in bark and peeled rice seeds using X-ray and RGB image processing techniques and machine learning. Samples of three batches of rice seeds were used: a batch of seeds not subjected to drying (peeled seed), and the other two comprised of dried seeds, one containing seeds with husk and another containing huskless seeds; each sample comprised 100 seeds. Images in X-ray and RGB formats were provided in the sequence processed in ImageJ software and introduced in the machine learning software, where they were pre-processed using the appropriate filters and then classified by the J48 and linear discriminant analysis (LDA) classifiers. X-ray images obtained using differentiated equipment allow the identification of cracks in rice seeds using image processing techniques and the LDA classifier. Capturing images using RGB is a viable alternative. Using filters, either individually or in combination, may constitute an adequate alternative for rice seed classification.

Drawing on the imagetic productions of children playing in the street, this paper discusses the meanings of childhood and the issues surrounding the myths of quietness and immobility of the body to learn, an idea quite present in education. By creating some connections between the images produced by children and the education of care and control, this work proposes a look at the body as power to think other ways of life and to make education with children.

This article is a case study of the exchanges and relationships that arose from the circulation of images in the Arhuaco community of Kutunzama in the Sierra Nevada de Santa Marta. The circulation of photographs, which show the present and past history of the Arhuaco people, led to an exchange between the mamos, the community and myself —as ethnographer—. The purpose of this text is to show how the circulation of these photographs can be understood as a gift in a process of redistribution based on the evocative, material and sensual capacities of the images. This article consists of an ethnographic approach, developed between 2017 and 2019, on the basis which the community’s forms of organization and kinship are understood via the elicitation of photographs and films, interviews and participant observation. This circulation also made it possible to activate narratives of the recent history of the village, related to the settlement and the context of territorial disputes in the area. Ethnographic photography allowed us to approach notions of time and space, and to broaden the Arhuaco notion of makruma. Rather than conceiving of this notion as a gift, it is understood as a process of redistribution in which the given object possesses the characteristics of the person who gives it and the return of the object (in this case the images) becomes a way of settling a spiritual debt. The text shows the image as a means of interaction, a means of encounter, a place of circulation and sensory experience. It approaches the image as a multisensory object and the photograph not only as a representational object, but also as one that traces social relations based on the indigenous notion of makruma.

This article inquires about the five (5) first prizes of the architecture competition for the new building of the Unión Industrial Argentina (UIA), held in Argentina in 1968. Within the framework of the developmetalism ideology, during post- war period, there was an architecture competition boom, primarily promoted by the State, but also by the private area. In this way, we consider the competition practice, and the increase in its use in the 1960s, as a vehicle that indicates and generates innovation, rupture and transformation in the ways of space production, and later, verified the opposition of an old and a new way of making architecture. Through the interpretation and micro analysis of the awarded projects, we address the visual documents as primary sources that, on one side, act as representations of the architecture culture as symbolic and material culture within an specific context, and on the other hand, they enable a multiplicity of readings that allow to verify the displacement in the ways of production of the disciplinary space.

This paper deals with prison memory spaces located in Brazil and Portugal. The focus is on paintings and drawings, created by prisoners and ex-prisoners, understood as places of knowledge/power which not only contain visual information about the activities performed within the confinement space but also make it possible to look into the paths and choices that shape prison heritage. These collections are understood here as visual objects producing and receiving sense, and endowed with agency, vectors that allow us to think about the relationships established from them as potentialities enabling discussion of the notion of prison heritage. I will dwell on other supports, such as murals and graphics, examining their weaknesses and absences.

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.

Epidemics are considered paradigmatic states of emergency and humanitarian scenarios. Thus, humanitarian conceptualizations are negotiable through the very practices appearing in this type of emergency. This paper aims to investigate this process in relation to the 2014 Ebola outbreak, an event that is considered a global threat and an intolerable humanitarian situation. We analyze how the definition of what can be understood (or not) as humanity was constructed through visual representations produced by social media. We will also discuss how the definition of humanity was negotiated through dimensions such as the spectrum of visibility, the distribution of agencies, the affections intended to provoke, and the imaginaries defined. This paper is based on an empirical semiotic analysis of hundreds of images from the 2014 Ebola epidemic and 15 focus groups and individual interviews, performed over a span of one year, discussing images from social media.

This paper aims to problematize the very place of prosuming images (TAPSCOTT; WILLIAMS, 2007), that is, images simultaneously produced and consumed, within the perspectives of the postmodern and the visual turns in contemporary society. Of qualitative/interpretative nature, it discusses and connects such turns to the philosophical concepts of dialogism (BAKHTIN, 1981), cultural translation (MIGNOLO; SCHIWY, 2002; MENEZES DE SOUZA, 2004; HALL, 1997), supplements (DERRIDA, 1978), and visual culture (ROGOFF, 2002; HALL, 1997) by means of interpretations of photographic images from social media (Instagram, Facebook) and free images from websites. The article is divided into 5 sections: after the introduction in which questions of language, representation and visual meaning making are briefly discussed, the second part explores the dialogic nature of language that seeks to juxtapose visual narratives. The third part focuses on the Postmodern and the Visual turns, and suggests that concepts of cultural translation and supplementation are paramount in visual studies. In the fourth section, visual culture – intertwined with cultural translation - is analyzed through the concepts of supplements and ruptures. To conclude, this paper advocates for more critical ways of understanding the so-called crisis of representation in (post) modern society.

This work discusses the genesis of the relation between the Brazilian Navy and the images produced by E-duardo De Martino. An officer of the Italian navy who at the end of the 19th century arrived in South Ame-rica where he renounced his military career to dedicate himself to a prolific artistic career. Therefore, some hypothesis will be presented about the possibilities of acquisiton of a set of paintings produced by the painter. Pieces that were under the tutelage of the Naval Museum until being transferred to the National His-torical Museum at the beginning of the 20th century.

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.

This paper explores the representation of political powers in the front-page illustrations of Early Modern Spanish newspapers. The knowledge about Early Modern European journalism has undergone a remarkable development in recent decades: however, research on the form of the first newspapers is scarce. The paper presents a corpus of 162 news pamphlets and gazettes published in Seville between 1618 and 1635. An analysis follows considering the presence of engravings on the cover page and their classification. This insight leads to the conclusion that the image did not play a decisive role to draw the attention of readers, even in sensationalist news pamphlets. The illustration is used not to present the events narrated but to stress the genre of the print; about half of the corpus prints have a cover engraving that reproduces a coat of arms, associated with the monarchical power in two thirds of the news sheets: Spanish journalism experienced a growing officialization, prior to the appearance of the first official newspaper of the kingdom, Gazeta Nueva (1661). Also, a small group of news sheets with ecclesiastical or nobiliary coat of arms reveals the interest of local powers in the flourishing of the journalistic market

The first European discoverers of the New World wrote stories full of awe and amazement which favoured descriptions of «wild» indigenous populations, and were replaced by other accounts focused on nature, thus contributing to develop America’s exotic vision. In the vernacular wildlife, reptiles became an outstanding subject: this study presents fragments of illustrated travel stories (16th-18th centuries), either picturesque o more seriously documented, aiming to satisfy European curiosity for American snakes.

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.

The use of images in research on Education has been more frequent recently, creating a field of debates and an increasing academic production. The article deals with this field of investigation presenting a discussion about youths and aesthetization of school, developed by pictures taken by the author while he taught at municipal public schools in Rio de Janeiro. The use of images provides analysis of juvenile aesthetic accomplishments in schools, important source for conceiving popular education today in Brazil, and the perspective assumed by the author while writing the article.

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.

The research aimed to analyze the didactic value (VD) of the images related to the concept of cell in biology books of High School and Higher Education, supported by Cognitivist Theory of Multimedia Learning (TCAM). With the technological advent there was a better development of the layout of production techniques and layout of the images in books, in order to help the study of abstract concepts and often complex, such as the cell. However sometimes it not happens. From the application of TCAM principles, we noted that the images related to cell concept presented VD elements with deviations on the principles of Consistency, Signaling and Spatial Contiguity, with great emphasis to the last one. It is necessary to establish eligibility criteria and inclusion of images in books, because the images represent potential resource to reduce abstraction and to facilitate conceptual learning.

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”.

Photos are often use in teaching activities for observing different environmental components, for illustrating or explaining natural phenomena or process. Using these during lessons helps pupils to develop the competence to analyse and interpret an image. There can be used just a few photos in different moments of the lesson or they can be organised in slideshows together with some short explanatory texts. The efficiency of the learning situation organised on the bases of images depends on some of the photos’ characteristics: they must be realized in a big format, to be clear and colored, to be projected on a screen, so that they are visible form any angle of the classroom, to represent a single essential aspect of the reality and not to have other insignificant details and to contain an element for dimension perception (a human or an instrument) in order to correctly perceive the size of the subject.

This text aims to discuss the nontransparency of images by a research conducted in Chemistry classes developed and analyzed by a teacher/researcher. The discussions were based in historic-cultural benchmarks and they lead to the specificities in ways of perceiving, thinking and acting of different subjects concerning to the didactic mediating processes, which refer, e.g., to the importance of working the reading of images, of valuing the historicity of the processes of social constitution of the subjects and the meanings produced about the images, in order to propitiate interactions which empower the inter- and intrapsychic processes permeating the Chemistry/Science classes.

This paper aims at investigating how the images of orbitals were presented in undergraduate General Chemistry textbooks throughout the twentieth century. Special attention was given to ontological and epistemological aspects related to such images. Images of orbitals from twenty-six textbooks used in Brazilian universities were analyzed according to Peircean semiotics, in order to assess: the nature of the orbital; what is the relation between representation and the represented object; what aspects of the object are highlighted by means of the representation; what are the limits and potentialities of the representation. It is observed that the images of orbitals in the textbooks are generally described as representations of maximum probability density and identified as limit surfaces. Such images present orbitals as possessing well defined sizes, shapes and directional nature. There is not sufficient information in most textbooks on the meaning of such images, especially regarding: the object of which representation takes place; how the images were produced; what aspects of the object the representation highlight; and what are the similarities and differences between the several images related to an orbital. Teaching difficulties arising from the features discussed here may be overcome by means of explicit discussion on the production, use and meaning of the representations, supported by Peircean semiotics.

La evolución es la base de toda la biología moderna. Uno de los aspectos más sobresalientes de los estudios actuales sobre la historia de la evolución es el interés creciente por explorar su papel y alcance en ámbitos no científicos, por ejemplo, en la educación. Algunos académicos han explorado la manera en que la teoría de la evolución fue introducida a los salones de clases; sin embargo, son pocos los estudios realizados específicamente sobre el escenario mexicano. Desde hace ya varias décadas, historiadores, filósofos, sociólogos y psicólogos han dirigido grandes esfuerzos hacia la comprensión de la naturaleza de las imágenes visuales y su papel en la generación de conocimiento y en el entendimiento de conceptos. El campo denominado “Estudios Sociales de Imágenes y Visualización Científica” (Scientific Imaging and Visualization) trata cuestiones enfocadas con la dimensión social y las implicaciones de las imágenes científicas y el conocimiento visual. En este trabajo buscamos responder, en el caso particular de la teoría de la evolución, qué ocurre cuándo las imágenes viajan fuera del contexto académico y se difunden en otros contextos. Evolution is the basis of all modern biology. One of the most outstanding aspects of current studies on evolution history is the growing interest for exploring its role and scope in non-scientific environments, for example, in education. Some scholars have explored the way in which the evolution theory was introduced to classrooms; however, there are few studies on the Mexican scenario. Since several decades ago, historians, philosophers, sociologists, and psychologists have made big efforts to understand the nature of visual images and their role in knowledge generation and in concept understanding as well. The filed called “Scientific Imaging and Visualization 2 deals with subjects focused on the social dimension and implications of scientific images and visual knowledge. In this research, we we are searching for giving an answer – in the specific case of evolution theory- to what happens when images travel outside an academic context and penetrate other contexts.

Ancestral masks (imagines maiorum) played an important role in the public representation of the Roman aristocracy in the Republican epoch, but remained relevant also in the time of Principate. The paper presents an attempt to trace the role of ancestral masks demonstration on the funeral ceremonies of princepes and their relatives basing on the written evidences of ancient authors (mainly, Tacitus, Svetonius and Cassius Dio). The first part of the paper deals with the use of ancestral masks in the funerals of Augustus’ family members. The thesis that Augustus changed the old tradition adding images of legendary and real prominent Romans to the masks of his ancestors on the funerals of his heirs (Marcellus, Agrippa, Drusus the Elder) is grounded by the author. The comparison between the choice of personalities of the heroes for the funeral images and the statues on the Forum of Augustus allows to infer in both cases that it was about the same propagandistic concept. In the second part of the article the application of the ancestral images by the Augustus’ successors is analysed. Basing on the Tacitus’ evidence about the funeral of Germanicus as well as the epigraphic monuments, which allow judging the posthumous honours intended for him (Tabula Hebana, Tabula Siarensis), the hypothesis is expressed that all of them were a response to the political crisis, which Tiberius met as a result of his refusal to give him the ceremonial burial in Rome. In the end of the paper the author comes to a conclusion that the use of such propagandistic instrument as ancestral masks by the princeps for squaring account with each other led to its gradual devaluation. As a result it was sidelined with coming of the new dynasty of Flavians, who had no family aristocratic tradition.