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Resumen A lo largo de este artículo pretendemos mostrar cómo diferentes mujeres artistas han utilizado su cuerpo como un lienzo de expresión. Sus cuerpos disidentes, abiertos y llevados al extremo serán sujeto de representación y de autoafirmación, a través de los cuales empoderarse y resistir frente a las consideradas verdades absolutas patriarcales, según las cuales, las mujeres han sido representadas como objetos de placer para la miradas masculinas. Abstract Throughout this article we intend to show how different women artists have used their body as a canvas of expression. Their dissident bodies, opened and taken to the extreme, will be subject of representation and self-affirmation, through which you will empower and resist against the considered patriarchal absolute truths, according to women have been represented as objects of pleasure for the male look.

[EN] In the drawings, the look range goes beyond the point of view, it comprises the organization and structure of the physical optical field and the personal imaginary; and they show an organic underside. This is a reflection on the way to include the organic individuality to the work using the drawing. We approach Aalto’s, Siza’s, de la Sota’s, Miralles’ and Navarro Baldeweg’s work through their drawings by the attribute use of their looks, establishing a link between the representation and the space experience built in the specific work of each architect., [ES] En los dibujos, el registro de la mirada va más allá del punto de vista, comprende la organización y estructuración del campo óptico físico, del imaginario personal y muestran un envés orgánico. Esta es una reflexión sobre la forma de incorporar la individualidad orgánica a la obra desde el dibujo. Nos acercamos a la obra de Aalto, Siza, De la Sota, Miralles y Navarro Baldeweg a través de sus dibujos mediante la adjetivación de sus miradas, estableciendo un vínculo entre la representación y la experiencia del espacio que se construye en la obra concreta de cada arquitecto.

This paper approaches the matter of look in the fields of psychoanalysis and art, starting from the effects produced by the work of the Italian painter Amedeo Modigliani. Seeking meaning for the socket ́s representation in the eye, present in the artist's paintings, it makes reflections about the image in the question to its relation with the subject. Through the interdiction of image, this work underlines the importance of these creations that imply another way of accessing the imagination, highlighting its function of cut, a function of ripeness that makes the experience of the reverse emerge. By undressing the image of the veil that covers it, the distressing anguish that breaks out in this act of imagery contemplation, it brings the dimension of horror proposed by Freud (1919), revealing the nakedness of the look. Something of death shears the image, in the direction of what Barthes (1980) develops by situating the notion of punctum in photographs. Lastly, the reflection over the mortuary mask of Modigliani points to the possibility of insertion of the image into death, in reverse of what the artist paints in his images in which something of death emerges, marking them, thereby bringing about the limits of the image on its threshold with the real. Esse artigo versa sobre a questão do olhar nos terrenos da psicanálise e da arte, partindo dos efeitos produzidos no encontro com obra do pintor italiano Amedeo Modigliani. Ao buscar sentido para a representação no buraco dos olhos, presente nas pinturas do artista, tece reflexões acerca da imagem, no tocante à sua relação com o sujeito. Através da uma interdição na imagem, sublinha-se a importância dessas criações que implicam outro modo de acesso à imaginação, destacando a sua função de corte, função de rasgadura que faz emergir a experiência do avesso. Ao despir a imagem do véu que lhe recobre, a angústia inquietante que irrompe nesse ato de contemplação com a imagem traz a dimensão do horror proposta por Freud (1919), desvelando a nudez do olhar. Algo da morte faz rasura na imagem, na direção do que Barthes (1980) desenvolve ao situar a noção de punctum nas fotografias. Por fim, a reflexão sobre a máscara mortuária de Modigliani aponta a possibilidade de inserção da imagem na morte, reverso daquilo que o artista pinta nas suas imagens, em que algo da morte emerge lhes fazendo marca, recolocando, com isso, a questão dos limites da imagem no seu limiar com o real.

Esse artigo versa sobre a questão do olhar nos terrenos da psicanálise e da arte, partindo dos efeitos produzidos no encontro com obra do pintor italiano Amedeo Modigliani. Ao buscar sentido para a representação no buraco dos olhos, presente nas pinturas do artista, tece reflexões acerca da imagem, no tocante à sua relação com o sujeito. Através da uma interdição na imagem, sublinha-se a importância dessas criações que implicam outro modo de acesso à imaginação, destacando a sua função de corte, função de rasgadura que faz emergir a experiência do avesso. Ao despir a imagem do véu que lhe recobre, a angústia inquietante que irrompe nesse ato de contemplação com a imagem traz a dimensão do horror proposta por Freud (1919), desvelando a nudez do olhar. Algo da morte faz rasura na imagem, na direção do que Barthes (1980) desenvolve ao situar a noção de punctum nas fotografias. Por fim, a reflexão sobre a máscara mortuária de Modigliani aponta a possibilidade de inserção da imagem na morte, reverso daquilo que o artista pinta nas suas imagens, em que algo da morte emerge lhes fazendo marca, recolocando, com isso, a questão dos limites da imagem no seu limiar com o real. This paper approaches the matter of look in the fields of psychoanalysis and art, starting from the effects produced by the work of the Italian painter Amedeo Modigliani. Seeking meaning for the socket´s representation in the eye, present in the artist's paintings, it makes reflections about the image in the question to its relation with the subject. Through the interdiction of image, this work underlines the importance of these creations that imply another way of accessing the imagination, highlighting its function of cut, a function of ripeness that makes the experience of the reverse emerge. By undressing the image of the veil that covers it, the distressing anguish that breaks out in this act of imagery contemplation, it brings the dimension of horror proposed by Freud (1919), revealing the nakedness of the look. Something of death shears the image, in the direction of what Barthes (1980) develops by situating the notion of punctum in photographs. Lastly, the reflection over the mortuary mask of Modigliani points to the possibility of insertion of the image into death, in reverse of what the artist paints in his images in which something of death emerges, marking them, thereby bringing about the limits of the image on its threshold with the real.

Cet article s’intéresse au regard dans les nouvelles d’Alice Munro : la description minutieuse du quotidien semble indiquer chez la nouvelliste canadienne une volonté de retranscrire fidèlement le réel. Toutefois l’étude attentive du regard montre rapidement combien ce qui semble s’offrir le plus facilement à la vue est en réalité masqué, entravé, obscurci, se dérobant de cette façon à toute connaissance claire et définitive. Les nouvelles d’Alice Munro nous donnent ainsi paradoxalement l’intuition, parfois de façon accentuée, en jouant par exemple avec la notion d’épiphanie, que nous ne pourrons jamais voir entièrement ce qui nous semblait le plus évident. This paper examines the question of vision in Alice Munro’s short stories. The detailed description of everyday life seems to underline Munro’s desire to closely reproduce reality. Nevertheless, a close reading shows how the (apparently) most evident things are actually masked, hidden, obscure, so that they shirk to a clear and real awareness. Thus, Alice Munro’s short stories give us the paradoxical intuition – sometimes exaggerated, as is shown by the creative use of the concept of “epiphany”– that we will never understand clearly what seemed to be evident.

Esse trabalho versa sobre a questão do olhar nos terrenos da psicanálise e da arte, partindo dos efeitos produzidos no encontro com obra do pintor italiano Amedeo Modigliani. Ao buscar sentido para a representação no buraco dos olhos, presente nas pinturas do artista, tece reflexões acerca da imagem, no tocante à sua relação com o sujeito. Através da proposição utópica de interdição da imagem, sublinha a importância dessas criações que implicam outro modo de acesso à imaginação, destacando a sua função de corte, função de rasgadura que faz emergir a experiência do avesso. Ao despir a imagem do véu que lhe recobre, a angústia inquietante que irrompe nesse ato de contemplação com a imagem traz a dimensão do horror proposta por Freud (1919/2006b), desvelando a nudez do olhar. Algo da morte faz rasura na imagem, na direção do que Barthes (1980/2015) desenvolve ao situar a noção de punctum nas fotografias. Por fim, a reflexão sobre a máscara mortuária de Modigliani aponta a possibilidade de inserção da imagem na morte, reverso daquilo que o artista convoca ao se fazer a travessia das suas imagens em que algo da morte emerge lhes fazendo marca, recolocando, com isso, a questão dos limites da imagem no seu limiar com o real. This paper approaches the matter of look in the fields of psychoanalysis and art, starting from the effects produced by the work of the Italian painter Amedeo Modigliani. Seeking meaning for the socket´s representation in the eye, present in the artist's paintings, it makes reflections about the image in the question to its relation with the subject. Through the utopian proposition of image interdiction, this work underlines the importance of these creations that imply another way of accessing the imagination, highlighting its function of cut, a function of ripeness that makes the experience of the reverse emerge. By undressing the image of the veil that covers it, the distressing anguish that breaks out in this act of imagery contemplation, it brings the dimension of horror proposed by Freud (1919/2006b), revealing the nakedness of the look. Something of death shears the image, in the direction of what Barthes (1980/2015) develops by situating the notion of punctum in photographs. Lastly, the reflection over the mortuary mask of Modigliani points to the possibility of insertion of the image into death, in reverse of what the artist convokes when crossing his images in which something of death emerges, marking them, thereby bringing about the limits of the image on its threshold with the real.

[EN] Now more than ever images are watched in its primary state: the virtual one (screen). Besides being compulsive image consumers, we need to set these images beyond the virtual state of our right brain processing for the left brain to analyze and conceptualize them. That is the reason why, along our long journey as humans, we did not settle with our latent capacity of vision, the one provided by our retina (sensed by our eyes due to light) and our thought process. On the contrary, we have focused in retaining and deciding to store that image with the goal of entering into its time (to look). We live looking around and searching for intermediate zones of communication in an attempt not so much of identifying, nor finding out, nor discovering but to watch so we can set the image, understanding it, translating it, and inhabit it from the experience of just looking at it (to register). The question arises when we realize the experience is changing. Computer screens are a barrier between us and the reality. They are not only a flat square surface that sits a certain distance from our eyes. They are the window we communicate through, where we work and where images are created. We see through them and they are transforming our sight, bringing in new ways of representing things (to display) and of interacting with our environment. The artwork “20,000 feet or the tiny memory” is an example of turning bits into atoms and the use of data visualization for creating art as an event. In this work, the accuracy' of' the' light translates into a pigment that shapes the footprint and discovers us the most sensitive aspect of the transition from the virtual to the real world., [ES] Ahora más que nunca la imagen la vemos en su primer estado: el virtual (pantalla). Además de ser unos devoradores de imágenes compulsivos, tenemos la necesidad de fijar esas imágenes más allá de la virtualidad en el que nuestro hemisferio derecho del cerebro las procesa y el izquierdo las analiza y las conceptualiza. Es por ello que, a lo largo de nuestro recorrido como seres humanos, no nos hemos conformado con la capacidad de la visión latente, esa que es de la retina (percibe por los ojos mediante la acción de la luz) y el pensamiento. Por el contrario nos hemos esforzado en retener y decidir fijar la imagen para entrar en su tiempo (mirar). Vivimos mirando y buscando zonas intermedias de comunicación, motivados por un intento no tanto de identificar, ni hallar, ni descubrir, sino de mirar para poder fijar la imagen, entenderla, traducirla y habitarla a partir de la experiencia de mirar (registrar). La pregunta surge cuando caemos en la cuenta de que esta experiencia está cambiando. Entre la realidad y nosotros se interponen las pantallas. Ya no es solo una superficie rectangular y plana situada a una cierta distancia de nuestros ojos. Es por donde nos comunicamos, por donde trabajamos y donde se construyen las imágenes. Vemos a través de ellas, y ellas están transformando nuestra mirada aportando nuevas formas de representar (visualizar) y de interactuar con el entorno. La obra “20.000 pies de Altura o la Memoria Ínfima”, va a servirnos de ejemplo del paso de los bits a los átomos y de la visualización de datos para generar una obra como acontecimiento. En ella la exactitud de la luz se traduce en pigmento, formalizando la huella y descubriéndonos el aspecto más sensible del paso de lo virtual a lo real.

We made in this article a brief and didactic route by four cinematographic ways to watch. We were centered for it in the analysis of four types of cinema: the classic cinema, the manierista cinema, the cinema of vanguard and the postclassic cinema

RESUMEN: Bajo el titulo de Nieve de Agosto y Otros Poemas, la poeta peruana Mariela Dreyfus, nos introduce a la poesia de Daniel Thomas Moran, nacido en New York en el ano de 1957 PALABRAS CLAVES: Cotidianeidad, mirada, memoria, coloquial ABSTRACT Titled as August Snow and Other Poems, Peruvian poet Mariela Dreyfus introduces us to the poetry of Daniel Thomas Moran, who was born in New York in 1957. KEYWORDS: Everyday, look, memory, colloquial

En France, les grandes enquêtes présentent les modes de vie des étudiants comme étant étroitement mêlés aux loisirs et aux sorties, aux activités sportives plus particulièrement. Parce que ces dernières donnent l’occasion d’être entre soi, le groupe de pairs constituant l’un des deux pôles de la sociabilité étudian­te. Parce qu’elles permettent de “faire des rencontres”, les stratégies de séduction se développant fortement à cet âge de la vie. Cet article se propose d’ex­plorer in situ ce qui se joue au cœur d’une activité proposée par les services universitaires des sports, au plus près des situations, au plus près des acteurs. Ainsi, les cours de salsa qui, depuis une dizaine d’années, ont intégré l’offre d’activités sportives universitaires, apparaissent comme autant de laboratoires d’étude du processus de socialisation des étudiants. En s’appuyant sur une enquête menée par observations et entretiens ethnographiques, cet article montre comment les modalités de pratique de cette activité participent d’une certaine forme de sociabilité estudiantine. Major surveys in France present student lifestyles as being closely intertwined with leisure activities and “going out”, and, most particularly, with athletic activities. Because the last mentioned afford the occasion for getting together with one’s own kind, the peer group representing one of the two poles of student sociability. Because they help them “meet people”, seduction strategies developing greatly at that time of life. This article proposes exploring in situ what is at stake at the heart of an activity propo­sed by the university athletic services, right in the situations, right with the actors. Thus salsa courses, which were added to the university’s athletic activities offer some ten years ago, seem ideal laboratories for studying the process of student socialization. In relying on a survey carried out using ethnographic observations and interviews, this article shows how the methods of practicing this activity participate in a certain form of student sociability.

Text in Turkish ; Abstract: Turkish and English Includes bibliographical references (leaves 91-95) xv, 97 leaves Bu tezin temel amacı, Merleau-Ponty, Sartre ve Lacan’ın sanatta ‘bakış’ görüşlerini ortaya çıkarmaktır. Bunu yaparken de, sanattaki ‘bakış’ın değişkenliğini; çağa,zamana, zamanın ruhuna dönük biçimlenmesini anlamak, anlatmaktır. Tezde öncelikle; ilk bölümde bakmak, görmek arasındaki fark belirtilerek, felsefe ile sanatın ortak izdüşümü olan algının ifadesi, diğer bölümlerde ise; Merleau-Ponty, Sartre ve Lacan’ın sanatta ‘bakış’ın izdüşümü irdelenmiştir. The purpose of this thesis is to discover the philosophical approaches of Merleau- Ponty, Sartre and Lacan to art. While trying to achieve this, the aim is also to understand and describe the way art changes and reshapes with the epoch itself and with the spirit of the times. In the first section of the thesis, the focus will be on the difference between “looking” and “seeing”, and on the expression of perception which is the common projection of art and philosophy. In the following sections, the projection of ‘the gaze’ in art according to Merleau-Ponty, Sartre and Lacan is delineated. Giriş Sanatta ‘Bakış’ Üzerine Merleau-Ponty ve Sanatta Fenomenolojik ‘Bakış’ Fenomenolojik ‘Bakış’ Uzam ve Tin Sartre ve Sanatta Varoluşçu ‘Bakış’ Varlık ve Hiçlik Yabancılaşma Fenomeni Uzam ve Boşluk’a ‘Bakış’ Lacan ve Gerçekliğin ‘Bakış’ı Yabancılaşma Gerçeklik Gerçeklik’in Değişken Yüzü Sonuç

Trata-se de um estudo elaborado na disciplina de psicologia da Arte tendo por objecto a obra prima de Da Vinci: mona lisa. focalizando a pintura do mestre renascentista de um ponto de vista hermenêutico, o trabalho de pesquisa colectivo deu lugar a várias leituras sobre o mesmo objecto simbólico, cruzando olhares diferentes e permitindo a polémica necessária a qualquer obra de arte ainda que condicionada pelo seu contexto, com a impressão digital do génio. This is a study achieved by the students of psychology of Art. the main subject was mona lisa, the master piece of Da Vinci. focusing the painting, the research has been hermeneutic, pointing out several readings of the symbolic object which allows different perspectives and even contradictions about this work of art.

This dissertation focuses on the link between the human visual system – examined from a scientific point of view – and the personal plastic expression relating facilities and photographs which deal with visual impairment. How can art be made accessible to everybody? To answer this question I explored the links between art and science and I demonstrated that both deal with perception: art develops our sensitive approach whereas science relies on a deep knowledge of the eye and can alleviate its failures. I examined perception from a theoretical point of view, dwelling on the Gestalt theory as well as on the phenomena deriving from illusions and the synesthesia which emphasizes senses association. I then dealt with blindness, first with its terminology and statistics and then with the psychological and practical life experience of the visually impaired. Against this backdrop, my research led me to investigate the image of the visually impaired through literature and art in western culture. I assessed its evolution first from an analysis of its image in ancient Greece, then through a book entitled Les Aveugles by Sophie Calle and also through the Blue Period of melancholy Picasso. This led me to examine how the visually impaired connect with art in order to gauge how fundamental Braille is in painting, sculpture, photography performance etc. How can we perceive art without resorting to visual perception? By developing all other senses or by relying on visual perception economy? Architecture adapts to legal standards while developing a kind of inventiveness which enriches the “living together”. Regarding scientific innovations, revolutionary tools are being proposed such as sensory replacement devices, the artificial eye or a camera for the visually impaired. The perception being the key of a communication between clairvoyant and visually impaired.; Cette thèse met en valeur une correspondance entre le système visuel humain d’un point de vue strictement scientifique et une expression plastique personnelle associant installations et photographies questionnant la mal-voyance. Comment rendre l'art accessible à tous ? Pour répondre à cette question nous avons interrogé les relations entre art et science et montré qu’ils sont tous deux concernés par la perception : l’art, car il développe une approche sensible, la science, car elle s’appuie sur une connaissance approfondie de l’œil et peut en pallier les défaillances. Nous avons étudié la perception d’un point vue théorique en nous attardant sur la théorie de la Gestalt, ainsi que les phénomènes que constituent les illusions et la synesthésie qui met en avant l’association des sens. Nous avons ensuite abordé la cécité à partir des points de vue terminologique et statistique, puis du vécu psychique et pratique du mal-voyant. Forts de cela, notre propos repère comment s’impose la figure de l’aveugle dans la culture occidentale à travers la littérature et les arts. De sa considération au cours de la Grèce antique à l’ouvrage, Les Aveugles, de Sophie Calle en passant par le Picasso mélancolique de la période bleue, nous avons pu apprécier l’évolution de son image. Il est alors temps de se pencher sur les rapports que le mal-voyant entretient avec l’art et, dans ce cadre l’intérêt que peut revêtir le braille qui infiltre la peinture, la sculpture, la photographie, la performance, etc. Comment appréhender l’art sans passer par le visuel en développant tous les autres sens ou en misant sur l’économie du visible ? L’architecture quant-à elle s’adapte aux normes juridiques tout en développant une créativité qui enrichit le vivre ensemble. Les innovations de la science en arrivent à proposer des outils révolutionnaires comme les dispositifs de substitution sensorielle, l’œil artificiel, ou encore un appareil photographie pour les mal-voyants. La perception étant la clé d’une communication entre voyant et mal-voyant.