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La cerámica es la fuente de la que muchos investigadores toman a la hora de alcanzar una aproximación hacia los múltiples aspectos del nivel cultural logrado por un pueblo. También a fin de valorar la habilidad de éstos en manipular los materiales que la naturaleza les proporcionaba para dar forma a la arcilla, tal es el caso de los pueblos prehispánicos de la Cordillera Andina de Mérida-Venezuela, que a través del análisis conográfico actual de la figura cerámica antropomorfa (MAGRG 010) se puede observar de forma inequívoca la representación de la mujer; y los atributos del arte cerámico prehispánico de la Cordillera. Ceramics is the source from which many researchers draw when approaching the multiple aspects of the cultural level achieved by a people. Also in order to assess their ability to manipulate the materials that nature provided them to shape the clay, This is the case of the pre-Hispanic people of the Andean Cordillera of Mérida-Venezuela, who through the current iconographic analysis of the anthropomorphic ceramic figure (MAGRG 010) can unequivocally observe the representation of the woman; and the attributes of the pre-Hispanic ceramic art of the Cordillera. 9-37 leninser1919@gmail.com Semestral https://saber.ula.ve/boletin_antropologico/

Textbooks are one of the most common educational materials used at Swedish upper secondary schools. Diversity and inclusion have become increasingly important topics in Swedish society, and it is important to ensure that they are reflected in learning materials such as textbooks. The purpose of this research project was therefore to, through an intersectional theoretical approach, achieve increased knowledge about which constructions of social identities and roles as professional workers that are conveyed through teaching materials in three social studies textbooks. This study was governed by two research questions which are as follows: What constructions of social identities are conveyed through the books' images and text? and What constructions of professionals are conveyed through the books' images and text? These questions in the study were explored through a theoretical framework that presents representation in three perspectives, namely the age, gender, and ethnicity. Qualitative analysis method was applied to analyze both visual and textual content in this study. With regards to the visual aspect of the study, an iconographic analysis tool, which looks at the icons or symbols in images to determine the images original meaning or intent was used. The written text was analyzed with the help of Ammerts Typology which examined the establishing, explaining, reflecting/analyzing and normative presentation types of the surrounding text. The study shows that the textbooks' images and text partly lack aspects of inclusion and diversity. This result indicates that a possible revision existing textbook is needed, which may entail creating new materials that are more inclusive. It takes continuous effort and commitment to ensure that all social identities and occupations are represented in educational materials.

Near the villages of Sikachi-Alyani Malyshevo in the Khabarovsk Territory there is a monument of petroglyphs, which occupies a central place in terms of the number (more than 200) and variety of drawings. The first printed reports about him appeared at the end of the nineteenth century. Ancient drawings attracted the attention of domestic and foreign scientists. Purposeful study of petroglyphs was carried out by a detachment of the Far Eastern Archaeological Expedition in the second half of the twentieth century: the foundation of knowledge on the Amur rock art was created. The author's research interests are focused on the research of the Lower Amur petroglyphs. The subject of study is a double disguise on stone No. 62. The purpose of the article is to describe the double disguise and interpret its semantic content. Research methods: cultural-historical, as well as the author's method of iconography of drawings of the Lower Amur disguises, tested for more than a dozen years. As a result, the concept of a double skull-like face was created as an artistic image of two mythical women involved in the three-part ideogram "ogre's pillar" located on the stone. The latter includes the mask of the supreme spirit, the second position is occupied by the double disguise we are studying, the third position belongs to the image of the disguise of the victim of the rite. The skull-shaped and terrifying appearance of the women in labor testifies to their movement from the celestial sphere of space, where they were the givers of life, to the underground, where they began to perform the functions of the lords of the underworld, the devourers of the souls of the dead, their rebirth. In the process of transition from the maternal to the paternal kind, women in labor became part of the ideology of a secret male social group that formed ideas about the lower world and the inevitability of death, as well as the mythology of the three-part "cannibal pillar". Fourteen complexes of similar content were identified by the author in Sikachi-Alyan, Sheremetyevo, on the Kiya River. Double skull-shaped faces as an integral part of the ideogram were found only on stone No. 62., Возле селений Сикачи-Аляни Малышево в Хабаровском крае находится памятник петроглифов, занимающий центральное место по количеству (более 200) и разнообразию рисунков. Первые печатные сообщения о нем появились в конце ХIХ в. Древние рисунки привлекали внимание отечественных и зарубежных ученых. Целенаправленное изучение петроглифов проводилось отрядом Дальневосточной археологической экспедиции во второй половине ХХ в.: был создан фундамент знаний по наскальному искусству Амура. Научные интересы автора сосредоточены на исследованиях нижнеамурских петроглифов. Предмет изучения – двойная личина на камне № 62. Цель статьи – описание двойной личины и интерпретация ее смыслового содержания. Методы исследования: культурноисторический, а также авторский прием иконографии рисунков нижнеамурских личин, апробированный в течение более десятка лет. В итоге создана концепция о двойной череповидной личине как художественном образе двух мифических рожаниц, причастных к расположенной на камне трехчастной идеограмме «столб людоеда». Последняя включает маску верховного духа, вторую позицию занимает изучаемая нами двойная личина, третья позиция принадлежит изображению личины жертвы обряда. Череповидный и устрашающий вид рожаниц свидетельствует об их перемещении из небесной сферы космоса, где они были дарительницами жизни, в подземную, где стали выполнять функции владычиц преисподней, поглотителей душ умерших, их перерождения. В процессе перехода от материнского рода к отцовскому, рожаницы стали частью идеологии тайной мужской социальной группы, сформировавшей представления о нижнем мире и неизбежности смерти, а также мифологию трехчастного «столба людоеда». Четырнадцать комплексов подобного содержания выделены автором в Сикачи-Аляне, Шереметьеве, на реке Кия. Двойные череповидные рожаницы в качестве составной части идеограммы обнаружены лишь на камне № 62., Вестник гуманитарного образования, Выпуск 4 (28) 2023, Pages 75-82

The Addaura Cave, located on Monte Pellegrino – Palermo, Sicily, is known for its exquisite engravings dating between the end of the Epigravettian and the Mesolithic periods. The frieze shows a group of men arranged in a circle around two very controversial figures which have generated much scholarly debate. So far, the purely choreographic and musical aspect has been little investigated. From the examination of the position of legs and arms and the presence of particular ornaments it is possible to deduce that these figures are engaged in a dance whose purpose is most probably linked to the ceremonial sphere. The purpose of the present contribution is to return to the concreteness of gesture related to dance, describing the modalities and the possible rhythmic implications.

The end of World War II marks the beginning of the radicalization of national liberation movements in the colonies. In Algeria, the war of independence broke out in November 1954 and ended in July 1962 with the recognition of the country’s independence. This research aims at analyzing visual depictions of the Algerian Independence War through paintings and posters of the French Communist Party. It complements previous works that analyze different aspects of visual creations that depict this historical event. We present an iconographic analysis of three paintings of the communist artist André Fougeron and sixteen posters of the French Communist Party. We conclude that the Party had expressed its views on the Algerian War through an iconography of peace and imagery of the antifascist struggles rooted in the remains of the aesthetic of socialist realism and the vision of the two camps formulated in Andrei Jdanov’s speech about the international situation on September 1947. This study makes it possible not only to understand the French Communist Party’s ambiguities about anti-colonial movements through visual arts, but also to confirm the richness of research linking various forms of visual creations outside the plastic arts alone.; La fin de la Deuxième Guerre mondiale marque le commencement de la radicalisation des mouvements de libération nationale dans les colonies. En Algérie, la guerre de l’indépendance éclata en novembre 1954 et se termine par la reconnaissance de l’indépendance du pays en juillet 1962. En plus des travaux qui ont analysé différents aspects des diverses créations visuelles qui ont représenté cet événement historique, cette étude se propose d’approcher la représentation visuelle de la guerre d’Algérie pour l’indépendance à travers les affiches et peintures du Parti Communiste Français. Elle se base sur une analyse iconographique de trois toiles de l’artiste communiste André Fougeron et seize affiches du parti. Cette recherche conclut que le Parti Communiste Français a exprimé ses positions sur la guerre d’Algérie à travers une iconographie de la paix et une imagerie antifasciste fondée sur les vestiges de l’esthétique du réalisme socialiste et de la vision des deux camps formulée par Andrei Jdanov dans son discours de septembre 1947 sur la situation internationale. La présente recherche permet non seulement de comprendre les ambiguïtés du Parti Communiste Français face aux mouvements de libération nationale à travers les arts visuels, mais tout aussi bien de confirmer la richesse des recherches en histoire de l’art mettant en relation des formes de création visuelle hors des seuls arts plastiques.

Spatial analysis on the basis of material culture has always been one of the major topics in archaeological research. Designating Place analyses the urban space of Roman Ostia and Pompeii in different ways, namely via geophysical analysis, spatial analysis, iconographic analysis and epigraphic analysis. This book honors the work of Hanna Stöger, the Leiden scholar who died in 2018. Hanna’s work in Ostia was not finished and this book contains contributions from people who inspired her, people she worked with, people she inspired and people who presented on sessions she organized. The book presents new data on Ostia obtained by techniques such as Space Syntax, high-resolution, shallow seismic reflection survey, the analysis of operational-sequences, linguistic landscape studies and collective memory studies, by scholars from the Netherlands, Canada, Germany, Italy, Japan, Norway, the UK, and the USA. As a bonus a selection of these papers form a hidden book on Roman bathing and water management.

Okul müdürleri öğretmenlerin iş doyumlarının, verimliliklerinin ve iş yaşamları hakkındaki vizyonlarının geliştirilmesinde belirleyici bir role sahiptirler. Okul müdürleri ve öğretmenler sadece entelektüel akademik bireyler olmayıp aynı zamanda sosyal ve duygusal varlıklardır ve tüm bu boyutlar okul müdürleri ve öğretmenlerin etkileşim içinde olmalarını sağlamaktadır. Okul yöneticilerinin her türlü yönetim faaliyetleri esnasında sürekli etkileşim halinde bulunduğu kişiler olan öğretmenlerin okul yöneticileriyle ilgili zihinlerinde çeşitli algılar oluşacağı bir gerçektir. Günümüz okul müdürü günlük idari rutin görevleri yerine getirmekten çok daha fazlası olmak zorunda kalmıştır. Günümüz okul müdürü öğrencilerin ebeveynleri ile iletişim, okul yönetimi, danışmanlık, koçluk, rol model olma, planlayıcı, gözetici gibi birçok görevleri üstlenmektedir. Birçok rolü üstlenen okul müdürünün öğretmenleri tarafından nasıl görüldüğü ve tanımlanması bu çalışmanın konusunu oluşturmaktadır. Bu araştırmada, okul müdürlerinin olumlu ve olumsuz tarafları figüratif soyutlama anlayışıyla yorumlanıp tartışılacaktır. Bir başka ifadeyle bu çalışmada okul müdürlerinin olumlu ve olumsuz taraflarının görsel sanatlar öğretmenleri tarafından yapılan figüratif soyutlama çalışmalarına göre incelenmesi amaçlanmaktadır. Araştırma nitel desende olup verilere ilişkin temalar ikonografik analiz ve içerik analizi ile yorumlanmış, görsel sanatlar öğretmenlerinin çizim ve doğrudan alıntıları ile desteklenmiştir. Bu amaç çerçevesinde çalışmada nitel araştırma yaklaşımlarından biri olan olgu bilim ve ikonografik analiz yöntemi kullanılmıştır. İkonografik analiz, sanat nesnelerinde kompozisyonu oluşturan biçimlerle, tema ve kavramlar arasında bir bağ kurulmasını, imgelerin çözümlenerek öykü ve alegoriler saptanmasını amaçlamaktadır. Çalışmaya, maksimum çeşitlilik örnekleme yöntemi kullanılarak seçilen İzmir ili Bornova ilçesinde 2018-2019 öğretim yılında görev yapan 11 özel ortaokul, 10 devlet ortaokulu görsel sanatlar öğretmeni katılmıştır. Araştırma, veri toplama formuna eksiksiz geri dönüş yapan 20 görsel sanatlar öğretmeninin verileri üzerinden analiz edilmiştir. Çalışma gurubunda yer alan 20 öğretmenden olumlu okul müdürü için bir, olumsuz okul müdürü için bir olmak üzere, toplamda 40 adet figüratif soyutlama çalışması yapmaları istenmiştir. Ayrıca, öğretmenlerden yaptıkları figüratif soyutlamalardaki öne çıkardıkları imgeleri gerekçeleri ile açıklamaları istenmiştir. Veri toplama sürecinde yarı yapılandırılmış görüşme formu ve figüratif soyutlama resim çalışmaları kullanılmıştır. Araştırma bulgularına göre, devlet okulu ile özel okul müdürlerinin olumlu taraflarına ilişkin yapılan figüratif soyutlama çalışmalarındaki ortak temalarda "Sevgi Dolu" teması en fazla sayıda gerekçeyle temsil edilen tema olmuştur. Devlet okulu ile özel okul müdürlerinin olumsuz taraflarına ilişkin yapılan figüratif soyutlama çalışmalarındaki ortak temalarda "Sinirli" teması en fazla sayıda gerekçeyle temsil edilen tema olmuştur. Araştırmanın ikonografik analiz sonuçlarına göre ise devlet okulu ve özel okul müdürlerinin olumlu taraflarına ilişkin yapılan figüratif soyutlama çalışmalarının ortak ikonografik analiz sonucuna göre en çok "el" görseli resmedilmiş ve renk olarak ise en fazla "beyaz" renk kullanılmıştır. Devlet okulu ve özel okul müdürlerinin olumsuz taraflarına ilişkin yapılan figüratif soyutlama çalışmalarının ortak ikonografik analiz sonucuna göre en çok "sert bakan gözler" görseli resmedilmiş ve renk olarak ise en fazla "beyaz" renk kullanılmıştır., School principals play a decisive role in the development of teachers' job satisfaction, productivity and their vision about working life. School principals and teachers are not only intellectual academic individuals but also social and emotional entities, and all these dimensions enable school principals and teachers to interact. It is a fact that various perceptions will occur in the minds of the teachers, who are the people in constant interaction with school administrators during all kinds of management activities. The quality of these perceptions will determine the direction and quality of the relationship between teachers and school administrators, and more importantly, it will directly affect the quality of educational activities. Schools are the places where teachers spend most of their time and that's why schools should be a living space for teachers, not a place they come just because they have to. What schools as living spaces and other concepts related to school such as education, principals, teachers, and students mean and how they make sense to teachers is very important. Therefore, drawings are as important as verbal expressions in revealing their perceptions about educational and structural processes in the school. The role of the school principal in today's understanding of education is shaped in a multilateral manner. Today's school principal has had to do much more than performing daily administrative routine tasks. Today's school principal takes on many tasks such as communicating with parents, school management, counselling, coaching, role modelling, planning and supervising. How the school principal, taking on many roles, is seen and defined by the teachers forms the subject of this study. In this research, the positive and negative sides of school principals will be interpreted and discussed with the understanding of figurative abstraction. In other words, in this study, the positive and negative sides of school principals are aimed to be examined according to figurative abstraction studies done by visual arts teachers. In this study, the visual arts teachers were asked to explain the profile of the principal through figurative abstraction. The research has a qualitative design and the themes related to the data have been interpreted by iconographic analysis and content analysis and supported by drawing and direct quotations of visual arts teachers. The research was conducted using a qualitative research model. For this purpose, one of the qualitative research approaches, phenomenology and iconographic analysis method were used in the study. Case science method is defined as the explanation of subjective opinions and a research understanding where the individual differences are put on the foreground. Iconography is a branch of art history that deals with the subjects and meanings of art objects. Therefore, iconographic analysis aims to establish a connection between the forms that make up the composition and the themes and concepts in art objects and aims to identify the stories and allegories by analysing the images. The iconographic analysis method is a method used in the analysis of the related studies put forward by Panofsky for image analysis. Visual arts teachers who work at 11 secondary private schools and 10 secondary public schools in the Bornova district of İzmir in 2018-2019 educational year who were selected by the use of the maximum diversity sampling method attended the study. The research was analyzed on the data of 20 visual arts teachers who replied to the data collection form completely. 20 teachers in the study group were asked to perform 40 figurative abstraction studies, one for the positive school principal and one for the negative school principal. In addition, teachers were asked to explain the images they highlighted in their figurative abstractions with their reasons. Semi-structured interview form and figurative abstraction painting were used in the data collection process. In the research, the visual arts teachers in the study group were asked to explain the positive aspects of the school principal as figurative abstraction and explain the image or images that are prominent in their positive figurative abstraction regarding the school principal with their reasons and in the common themes of figurative abstraction studies on the positive sides of the public and private school principals, the theme of "loving" was the most represented theme with the largest number of reasons. In this theme, 6 positive figurative abstraction studies have taken place. In figurative abstraction studies conducted on the positive aspects of public school principals, the theme "Guiding" is the theme represented with the highest number of reasons. In this theme, 5 positive figurative abstraction studies have taken place. In the figurative abstraction studies conducted on the positive aspects of private school principals, the theme of "Loving" is the theme represented with the highest number of reasons. In this theme, 4 positive figurative abstraction studies have taken place. In the study, the visual arts teachers in the study group were asked to express the negative side of the principal of the school in the form of figurative abstraction and to explain the image or images that are prominent in the negative figurative abstraction that they make about the school principal and in the common themes in the figurative abstraction studies conducted on the negative sides of the public and private school principals "Nervous" theme was the one that was represented with the highest number of reasons and 8 negative figurative abstraction studies have taken place in this theme. In the research, "Nervous" theme was the most represented one in figurative abstraction studies conducted on the negative sides of public school principals and 5 negative figurative abstraction studies have taken place in this theme. In the research, "Nervous" was the most represented theme in figurative abstraction studies conducted on the negative sides of private school principals and 3 negative figurative abstraction studies have taken place in this theme. According to the results of the iconographic analysis, "hand" was the most commonly depicted image according to the common iconographic analysis of the figurative abstraction studies on the positive aspects of the public and private school principals. The most commonly used colour was "green". According to the common iconographic analysis of the figurative abstraction studies on the negative sides of the public and private school principals, "strict-looking eyes" image was most commonly depicted. The most commonly used colour is "white". According to the iconographic analysis of the figurative abstraction studies on the negative sides of the principals of the public school, the "frowning eyebrows" was the mostly depicted image. The most commonly used colour is "white". According to the iconographic analysis of the figurative abstraction studies conducted on the negative aspects of the private school principals, mostly "strict-looking eyes" image was depicted. The most commonly used colour is "white".

International audience

152-155 В данной статье проанализировано происхождение памятника, проведение современных всесторонних исследований иконы: макро- и микрофотосъемки, анализ грунта, рентгенографирование, химико-аналитические работы по изучению живописи. Выполнена полная научная реставрация. Проведен стилистический и иконографический анализ произведения, подтверждающий принадлежность иконы к произведениям круга мастеров Оружейной палаты Московского Кремля. In this article, the authors consider the origin of the monument, carrying out modern comprehensive studies of the icon: macro and micro photography, the primer analysis, an X-ray study, technical and technological research of painting pigments using micro-chemical and petrographic methods. Comprehensive scientific restoration completed. Stylistic and iconographic analysis of the icon confirmed the status of the icon as a monument of Russian icon to artists of the Moscow Kremlin's Armory Chamber.

Se presenta la investigación de la cerámica de la tradición Teuchitlán del occidente de México por medio del estudio iconográfico y la presencia de símbolos panmesoamericanos, con una visión alterna hacia los procesos de contacto intercultural, proponiendo que la interacción interregional del occidente fue más compleja y sucedió más prematuramente de lo que se considera. Motivos compartidos fueron incorporados a cánones representacionales locales con un simbolismo regional único indicando que los artesanos continuaron una tradición cultural e implementaron agencia artística. La evidencia indica simultáneamente una cosmovisión compartida a través de la incorporación a complejos simbólicos panmesoamericanos y una afirmación material de configuraciones regionales culturales específicas.

Se presenta la investigación de la cerámica de la tradición Teuchitlán del occidente de México por medio del estudio iconográfico y la presencia de símbolos panmesoamericanos, con una visión alterna hacia los procesos de contacto intercultural, proponiendo que la interacción interregional del occidente fue más compleja y sucedió más prematuramente de lo que se considera. Motivos compartidos fueron incorporados a cánones representacionales locales con un simbolismo regional único indicando que los artesanos continuaron una tradición cultural e implementaron agencia artística. La evidencia indica simultáneamente una cosmovisión compartida a través de la incorporación a complejos simbólicos panmesoamericanos y una afirmación material de configuraciones regionales culturales específicas. This investigation presents ceramics of the Teuchitlán tradition in western Mexico through an iconographic study. The presence of pan-Mesoamerican symbols in many examples yields insight into the processes of intercultural contact, suggesting that interregional interaction involving western Mesoamerica was more complex and occurred earlier than was considered. Shared motifs were incorporated in representational canons with regionally unique symbolism, suggesting that Teuchitlán artisans were both continuing a cultural tradition and exercising artistic agency. The evidence simultaneously indicates a cultural world view shared through the incorporation of broader pan-Mesoamerican symbolic complexes and a material affirmation of regionally specific cultural configurations. Cet article présente une recherche sur la céramique de la tradition Teuchitlán de l’occident du Mexique à travers d’un étude iconographique et la présence de symboles pan-mésoaméricaines avec une vision alternative envers les processus de contact interculturel qui propose que l’interaction interrégional de l’occident fut d’avantage complexe et qu’elle a eu lieu beaucoup plus avant de ce qu’on avait considéré. Des motifs partagés ont été incorporés dans les canons de représentation locaux avec un symbolisme régional unique qui indique que les artisans ont continué avec une tradition culturelle et qui’ils ont mis en route une agentivité artistique. L’ évidence indique l’existence simultanée d’une cosmovision partagée, à travers de l’incorporation à des complexes symboliques pan-mésoaméricaines, ainsi que l’affirmation matériel de configurations culturelles spécifiques à la région.

The purpose of my study is to analyze Assyrian sculptures in the palace of Nimrud from throne room of Aššur-nāṣir-apli northwest palace. My research will be to compare sculptures with a theoretical as well as practical issue in the design of the galleries. Images of supernatural beings would be set up at entrances to palaces and temples. Assyrians called sculptures Lamassū (from written Sumerian references LAM(M) (A) lord of horizons, guardian of the Assyrian Gate. Lamassū are both flanked at the doorways from the throne room of Aššur-nāṣir-apli`s northwest palace. The exact meaning is not clear, but Lamassū can be taken as representing an Assyrian protective divinity. The first method in my analysis combines the need to establish the subjective meaning of objects as objective reality that is their meaning for digital design. My thesis aims to define a specific iconographic theme, centered around sculptures based on similarities in the composition of each scene in the selection of images on monuments in Nimrud. Digitalization projects provide an angle from mergers areas as architecture and archeology through images. With the project historians can use traditional documents and images to reconstruct the past and palaces. The analysis takes as an example of the importance of Digital archeology in understanding the role of artefacts and the role as a function of the specific purpose or activities for which such present or used in museums. We construct meaning as the basis for action, and not only from concrete material, but also from the matrix of symbols that are available from within culture to interpret the substantive conditions. Digital archeology is associated with technology that provides a picture of the physical environment. The digital images show the limit between design of the architectural spaces from the British Museum and the old spaces in Nimrud.

Este trabajo plantea el papel de la imagen como agente de transformación social. La metodología que se emplea es un estudio de caso sobre el impacto de la fotografía de Aylan Kurdi, el niño de tres años ahogado en el intento de huida en una balsa de migrantes sirios en Bodrum. Se trata de uno de los documentos recientes de fotoperiodismo social más difundidos transnacionalmente y con gran impacto en redes sociales. El estudio aborda diferentes niveles de análisis (iconográfico, iconológico y ético) para decapar los aspectos constitutivos de una imagen con poder de cambio social. Como principales conclusiones, esta investigación comprueba el poder de la imagen gráfica digital por su carácter de fácil reedición y re-significación en el paso de transformar simbólicamente la realidad y generar procesos de pronunciamiento y activismo en la ciudadanía a partir de entornos digitales. Los resultados del análisis del caso que se delimita muestran cómo el valor de una imagen en el cambio social no viene dado solo por la magnitud de la tragedia o el hecho que registra, ni por sus aspectos formales (iconográficos), sino por ser capaz de expresar un cambio de lógica (aspecto iconológico) y propiciar procesos de reapropiación y denuncia ciudadana. Por último, el debate ético sobre su difusión traslada el problema de la deontología periodística a la responsabilidad ciudadana, This paper focuses on the role of the image as an agent for social transformation. The methodology adopted is a case study: the impact of the photograph of Aylan Kurdi, the three-year-old child drowned off Bodrum in an attempt to escape on a raft full of Syrian migrants. This is one of the most widely seen social photojournalism documents in recent times, and it had a huge impact on social media. The study applies an iconographic, iconological and ethical analysis to reveal the constituent parts of an image with the power for social change. In its main conclusions, this paper describes the potential for easy resignification of the digital graphic image as it symbolically transforms reality, and the power it has to generate processes of pronouncement and activism among citizens in digital environments. The results of the case study show that the value of an image for social change is achieved not only by the magnitude of the tragedy itself and the information that it registers, or by its formal aspects (iconographic), but mainly by being able to express a change of logic (iconological aspects) and to promote processes of reappropriation and denunciation. The ethical debate on dissemination shifts the problem from journalistic ethics to citizen responsibility