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The article follows Max Weber's Comprehensive Sociology and uses the hermeneutic and iconological analysis sociological methods applied to plastic works (painting and sculpture), significant and representative of modern and late modern art. Starting from these theoretical and methodological bases, it pursues three specific objectives: to analyze the construction of space in plastic art, to verify how this theme has evolved in artistic practices from the first modernity to the second and to verify the way in which the complementary visual language the conceptual of contemporary sociological theory. In this regard, the analysis and interpretation of the eleven selected works reveals three important consequences of the modern influence on space, gradually emptied of meaning and replaced by non-places: its conversion into merchandise, its loss of solidity and stability and the confusion that occurs in it between reality and its representation. Consequently, the implicit content converges with the essential postulates of the sociologists who have approached the subject of space, although it goes further because the foray into the iconographic hermeneutics of these works puts an image to the conceptual theoretical discourses of the sociologists, in a way that visual language complements and enriches, with more emotional and sensitive nuances. Therefore, our discipline begins to overcome a traditional deficit, in that it moves from the essential rationality that structures its origin and turns towards a greater coupling of the emotional and sensitive social plane. [ABSTRACT FROM AUTHOR]

En este artículo se analiza una selección de cartas escritas por migrantes y de imágenes fotográficas realizadas a ellos y recogidas en la obra Enciclopedia de los Migrantes, fruto de una investigación y de la creación artística financiado por la UE y elaborado simultáneamente en 8 ciudades de Francia, España, Portugal y Gibraltar. Las cartas están dirigidas a una persona que quedó en su tierra de procedencia y explican sus vivencias personales, sus emociones, sentimientos y percepciones en relación al proceso migratorio. Las imágenes fueron realizadas por un fotógrafo artístico bajo la premisa de que tanto el escenario como los objetos retratados fueran elegidos por la propia persona migrante. Los retratos realizados fueron concebidos como una clase de etnofotografia, en la que se analiza tanto las imágenes y sus contenidos (mediante el método de análisis iconológico), particularmente la concepción del cuerpo y de las emociones de los migrantes. This article analyzes a selection of letters written by migrants and photographic images made to them, and collected in the work Encyclopedia of Migrants. The work is the result of research funded by the EU and developed, simultaneously, in 8 cities in France, Spain, Portugal and Gibraltar. The letters are addressed to a person who stayed in their homeland and explain their personal experiences, their emotions, feelings and perceptions regarding the migratory process. The images were made by an artistic photographer under the premise that both the stage and the objects portrayed were chosen by the migrant himself. The portraits were conceived as a kind of ethnophotography in which the images and their contents are analyzed simultaneously (through the method of iconological analysis), particularly the conception of the body and the emotions of the migrants.

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center 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.)

The Article follows the trail of Max Weber's comprehensive sociology and uses the hermeneutic and iconological analysis methods applied to significant contemporary plastic art works (painting and sculpture) which are representative of modern and late modern art. Starting from these theoretical and methodological bases, it pursues three specific objectives: (a) to analyze the construction of Time in plastic art, (b) to verify how this theme has evolved in artistic practices from the first modernity to the second and (c) to verify the way in which the complementary visual language the conceptual of contemporary sociological theory. In this regard, our paper provides evidence that the selected works prioritize a kind of temporality determined by the logic of capitalist industrial modernity. It likewise becomes obvious that time—focused on an accelerated and instantaneous omnipresent—lacks both an origin and a telos; it has neither a past nor a future and, in parallel, a gap has opened between the time of natural life and the artificial one, as well as between space and time, which is only transiently bridged at the imaginary level of art. Finally, the experience of time has been emptied, in such a way that the latter has lost some of its solidity and its sense of permanence, while the contingent, the fleeting and the ephemeral now occupy in its place. [ABSTRACT FROM AUTHOR]

This article analyzes a selection of letters written by migrants and photographic images made to them, and collected in the work Encyclopedia of Migrants. The work is the result of research funded by the EU and developed, simultaneously, in 8 cities in France, Spain, Portugal and Gibraltar. The letters are addressed to a person who stayed in their homeland and explain their personal experiences, their emotions, feelings and perceptions regarding the migratory process. The images were made by an artistic photographer under the premise that both the stage and the objects portrayed were chosen by the migrant himself. The portraits were conceived as a kind of ethnophotography in which the images and their contents are analyzed simultaneously (through the method of iconological analysis), particularly the conception of the body and the emotions of the migrants. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research 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.)

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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.)

Iconological analysis of the ensemble of pictures from the Lusitania Liberata published in London in 1645 and written by Antonio de Sousa Macedo. The book is illustrated with 13 original prints of figures of ancient or contemporary historical events. Written in Latin, it defends the Portuguese Restoration of 1640, using historical and legal arguments. Most of the images have not been subject to systematic analysis. The book is a work of propaganda defending a nationalist thesis. The Lusitania Liberata develops its argument from the rhetoric of a particular symbolic universe connected to Portuguese messianism.

Iconological analysis of the ensemble of pictures from the Lusitania Liberata published in London in 1645 and written by Antonio de Sousa Macedo. The book is illustrated with 13 original prints of figures of ancient or contemporary historical events. Written in Latin, it defends the Portuguese Restoration of 1640, using historical and legal arguments. Most of the images have not been subject to systematic analysis. The book is a work of propaganda defending a nationalist thesis. The Lusitania Liberata develops its argument from the rhetoric of a particular symbolic universe connected to Portuguese messianism.

Copyright of Talia Dixit is the property of Talia Dixit 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.)