Expressões de homoerotismo na poesia Ode Marítima, de Fernando Pessoa. Mergulho nos insondáveis: mar e imaginário

Social construction is a theoretical position that social reality is created through the humans' definition and interaction as opposed to something that exists by default. As one type of social reality, juvenile delinquency is perceived as part of social problems, deeply contextualized and socially constructed in American society. The social construction of juvenile delinquency started far earlier than the first juvenile court in 1899 in the U.S. Scholars have tried traditional historical analysis to explore the timeline of the social construction of juvenile delinquency in the past, but it is inefficient to examine hundred years of documents using traditional paper-pencil documenting method. We propose to research, develop and apply image and text analysis methods to analyze hundreds of years of newspaper data and show a clear development of social construction of juvenile delinquency in American society. The project aims to explore questions around how the media started depicting certain types of juvenile behavior as delinquency, how they described those behaviors; who are those juveniles (age, race, gender, family background, community background, etc.), how other social institutions treat those juveniles in those stories; how the depiction of juvenile delinquency has changed during the past 100 years; whether the analysis results support social construction perspective in terms of juvenile delinquency or not. In this paper, we present our ongoing work of doing image analysis on the newspaper collection from the Library of Congress Chronicling America website, initial results, observations, current conclusions, and future work.

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

In the context of globalization and growing competition among universities, visual communication has become an important tool for strengthening institutional image. The phenomenon of recognizability is directly linked to the development of symbolic systems capable of eff ectively refl ecting the spiritual, moral, and social characteristics of a territory, embedded in the multicultural history of Russia. The study focuses on visual discourse – a sequence of verbal and non-verbal communicative acts defi ned by the sociocultural values of a given society. Within this discourse, social reality is constructed through symbolic imagery that serves to express and reinforce national identity. The aim of the study is to provide a linguocultural analysis of the visual image of the university and to examine the components of national discursivity embodied in its offi cial symbols. The main research methods include semiotic and linguocultural analysis, allowing the interpretation of visual discourse as a cultural phenomenon through semiotic codes at various levels that refl ect the key constructs of a society’s worldview. Using a sociocultural approach, visual communication is examined within the paradigm of the “remembering society”, drawing on Jan Assmann’s theory of cultural memory and Pierre Nora’s concept of “places of memory”. The empirical base comprises symbols from 85 Russian universities, analyzed using a perceptual map. The study identifi es three levels within the discourse of national identity: cognitive – dominant meanings, values, and beliefs of the societal worldview; aff ective/emotional – emotions and feelings as stable traits of national or ethnic character; behavioral – patterns and stereotypes of national behavior. The analysis showed that 29 university symbols include regionally specifi c signs in their visual identity. Within the structure of visual discursivity, the dominant symbolic carriers of territorial identity include iconic cultural fi gures, elements of natural heritage, and compositional archetypes. The article highlights the role of the university as a symbolic center for representing national identity. Its visual discourse not only fosters a sense of belonging to a specifi c region but also contributes to recognizability at national and international levels – an aspect that warrants further study.

In the 20th century in the 90s they started to apply actively the features of feminist criticism which were formed in American and European theoretical branches in the middle of the 20th century under the strong influence of Simone de Beauvoir’s existential point of view of a woman as a historical phenomenon to the analyses of female artistic images in the Ukrainian literary studies. The representatives of this literary school believe that female image in literature is a role model and presents a way of “socialization”. However it must be remembered that an artistic image is a fiction which does not correlate directly with reality, but is only an imitation, thus there lies its “conventionality”. “Conventionality” opens nonidentity of female images in literature and their prototypes in life. R. Jakobson differentiates “primary” and “secondary” “conventionality”. “Primary” conventionality is realistic as it reflects reality. R. Jakobson disproves the theories that defend the practice of plausibility and talks about “secondary” “conventionality”. “Secondary conventionality” destroys plausibility when it recombines the system of characters and displays creativity beyond the limits of the possible. In this case the “socialization” is expressed in the way that a literary work “tells” about the character’s formation when he\she implements cultural norms and social values. The “socialization” is determined by the influence of society on emotions of literary heroes that encourages them to reflection, reveals them not only as the objects, but as the subjects of an active action aimed at social realities. In the works by S. de Beauvoir the principle of “socialization” determines reference to “secondary” “conventionality” and opens the prospect for the object’s / subject’s development. The active “action” of subjects happens the real existence of the individual when he\she tries to know him or herself. “Feminine” is the transcendental (“secondary conditional”) unlike “female” and “feminist” which seems “real” (“social” “conditional-primary”). The aim of feminist criticism is to research female characters in male and female literature in order to reevaluate the experience, reconsider the literary canon, return from oblivion the texts written by women. Its representatives give special attention to the study of power relations that demonstrate the extent of patriarchy in one or the other culture, in order to destroy this patriarchy.

Based on the detailed iconographic analysis of a set of black and white tonal designs intended to illustrate an excerpt from Victor Hugo’s novel Les Misérables focused on the story of Cosette, this study attempts to explore the reasons why this book was deemed suitable for children and, at the same time, discuss the means deployed in order to render it accessible to a young readership. The study thus explores the role of the visual in communication strategies, but also the relationship between text and image, focusing on the more emotional and perhaps more complex messages conveyed by the ‘illustrations’, particularly through postures, gestures and the gaze, bestowing on the image an autonomous status and perhaps even a hegemonic position in relation to the text. A second layer of the analysis deals with the stylistic options of the artist who produced the graphics for the book. Although Iacob Desideriu’s biography is difficult to reconstruct, the essay attempts to place the artist’s work within the Expressionist paradigm, which may have travelled from Germany, Dresden and Berlin, to Bessarabia and, eventually Bucharest. The study aims to consider the function of these images, as they seem to transcend didactic and straightforwardly propagandistic purposes and engage in a complex and strongly affective dialogue with the young recipient. It is the contention of this essay that stylistic choices, the abandonment of Socialist Realism in favour of an adapted version of Expressionism redefined the purpose of the images, distancing it from the purely didactic and rendering it more accommodating to the affective and interpelative. Taking into account their interpelative function, the present study attempts to go beyond an analysis of images as mere illustrations, completely subordinate or, at best, complementary to the text, and approach them as a different way to render meaning and elicit responses from the target audience. Ultimately, besides illustrating the difficulties encountered by artists in a totalitarian regime by examining an individual and the designs he produced for one specific book, this study may contribute to the debates on the suitability and/or usefulness of iconography as a method beyond the borders of the early modern times, argue for the importance of the visual as a means of communication and perhaps bring images in children’s books to the fore of discussions concerning art during the communist period.

Reviewed by: Writing Witch-Hunt Histories: Challenging the Paradigm ed. by Marko Nenonen, Raisa Maria Toivo Erika Gasser Marko Nenonen and Raisa Maria Toivo, eds., Writing Witch-Hunt Histories: Challenging the Paradigm. Studies in Medieval and Reformation Traditions. Leiden: Brill, 2014. xiv + 220 pp. Marko Nenonen and Raisa Maria Toivo’s edited volume, Writing Witch-Hunt Histories, spans a broad geographic and chronological range and provides a useful overview of the trajectories in historical scholarship about European witch hunts from the nineteenth to twenty-first centuries. The volume reflects the field’s foundation in early modern Europe, with side glances at England and America, and reviews both established and emerging scholarship of areas previously viewed as peripheral to European studies: Finland, Russia, areas of northern Norway populated by the Sami people, and parts of the Iberian world receive particular attention. It ends with a chapter that addresses the pertinence of historical scholarship for modern pagan witches, and the potential for this scholarship to factor in current struggles around the world to prevent violence against those suspected of being witches today. Both the first chapter, which is by both of the editors, and the second, by Nenonen independently, provide a comprehensible overview of key trends in witch-hunt scholarship, note the expansion of the field beyond old geographic limits, and suggest possible directions for future research. Graduate students, or anyone who wants a succinct encapsulation of the subject’s lengthy historiography, will find much of use here. There are some curious choices, as when Nenonen devotes far less attention to the question of accused witches’ sex than to social status and scapegoating, all three of which he views as central to theories about witch hunts based on “mistaken generalities” since corrected by more vigorous scholarship. While it is possible this choice followed from a desire to leave space for Toivo’s chapter that addresses questions of sex and gender at length, it has the unfortunate result of suggesting how much more readily one might expect an audience of historians to be willing to dismiss questions of sex in comparison to other factors. Nenonen later returns to gender and social status when considering what he calls the “western European paradigm of witch-hunt history,” in which European scholars’ sense of “political and ecclesiastical geography” distorted their methods and findings (30–35). Whether or not it is “grotesque” that historians have been prompted to pursue new lines of inquiry by external factors such as European union rather than by the discipline’s own inherent rigor (36), the two opening chapters effectively describe and demonstrate some of the key issues that emerge from witch-hunt historiography. Charles Zika’s chapter examines the notable development in witch-hunt [End Page 139] historiography since the 1970s of more sustained and sophisticated attention to images. Zika encourages historians and art historians to continue to sharpen their analysis of images by treating them not as transparent signs of social realities but rather as products of artists with context and agendas of their own. Through a wide-ranging review of scholarly texts and museum exhibits, Zika praises those who have treated images with care and specificity, and suggests several likely avenues for future work. Raisa Maria Toivo’s chapter combines reflection on the historiography of gendered approaches to witch hunts with particular references to Finland. After noting that early feminist studies misconstrued the sex ratio of European trials and mishandled male witches, Toivo argues that to emphasize gender as a dichotomous, hierarchical relationship fails to capture the complexity of gender relations in witch hunts. Furthermore, she states that using gender as a lens through which to understand witch hunts will perpetuate a distorted view, if scholars apply what emerged from moments of strife onto the broader society. Toivo also recommends attention to the shamanic tradition, since it provided men with access to preternatural authority in ways that avoided the victimhood she sees as pervading accounts that center on patriarchal power. The next three chapters, Marianna G. Muravyeva’s “Russian Witchcraft on Trial: Historiography and Methodology for Studying Russian Witches,” Rune Blix Hagen’s “Witchcraft and Ethnicity: A Critical Perspective on Sami Shamanism in Seventeenth-Century Northern Norway,” and Gunnar...

After looking for him in the poems, we search for him in the prose. The pursuit of the Other in Pessoa's work is never-ending, writes Edwin Honig. Essential to understanding the great Portuguese poet are the essays written about (and by) his heteronyms--Alberto Caeiro, Ricardo Reis, and Alvaro de Campos--the several pseudonyms under which he wrote an extraordinary body of poetry. In Always Astonished, Pessoa and his several selves debate and discuss one another's work, revealing how Portuguese modernism was shaped. Fernando Pessoa is one of the great of twentieth-century literature, and these manifestos, letters, journal notes, and critical essays range through aesthetics, lyric poetry, dramatic and visual arts, and the psychology of the artist. He gives us, too, a singularly heterodox political position in his strange work of fiction, The Anarchist Banker. Eloquent, volatile and obsessed with life--and death--[Pessoa is one of the] modernist giants in whose shadow we live and who made our century one of the extraordinary richness.--The New York Times Only a few years ago Fernando Pessoa was all but invisible in English. Now this outsider's outsider looms as the latest icon of modern poetry. Eugenio Lisboa devised A Centenary Pessoa in 1995, a lavish miscellany of poems, essays, biography, photographs, even paintings he inspired. Edwin Honig and Susan M. Brown reissued Poems of Fernando Pessoa, along with Honig's Always Astonished, a selected prose.-Robert Polito, BOMB Magazine Fernando Pessoa is Portugal's most important contemporary poet. He wrote under several identities, which he called heteronyms: Albet Caeiro, Alvaro de Campos, Ricardo Reis, and Bernardo Soares. He wrote fine poetry under his own name as well, and each of his voices is completely different in subject, temperament, and style.

This study focuses on peasant-themed figure painting presented in the 12th to 14th National Art Exhibitions of China, aiming to explore the creative orientation, thematic evolution, and stylistic characteristics of peasant imagery in contemporary Chinese art. Through a systematic review and visual analysis of selected and award-winning works from these three exhibitions, the research examines expressive techniques, formal language, subject matter, and their underlying socio-cultural contexts. The findings indicate a shift from grand, collectivist narratives to individualized storytelling, with artists placing greater emphasis on the realistic circumstances and spiritual presence of rural people. The works show a warmer emotional tone and stronger sense of humanistic concern. In terms of artistic language, realism coexists with expressionism, while traditional brushwork techniques are interwoven with contemporary visual strategies, resulting in a diverse range of styles. The study concludes that peasant-themed figure painting is not only an artistic response to rural social realities but also reflects broader cultural concerns and aesthetic values in the context of China's societal transformation. It represents a key component of the realist tradition in the National Art Exhibition and opens new directions and possibilities for the development of contemporary Chinese figure painting. Keywords: Peasant-themed figure painting, National Art Exhibition, Contemporary Chinese art, Image analysis, Value orientation

Ideologies of reproduction are social facts, collective representations, of the dramatic ways in which human beings construct and appropriate gender for the imaging of social reality. Such symbolic universes are often centered on the body (Foucault 1980; Martin 1989; Turner 1984; Douglas 1973). As a template of cultural signification, the body becomes a model through which the social order can be apprehended. For instance, gender hierarchies are sometimes envisioned by means of an anatomical or physiological paradigm (Needham 1973; Hugh-Jones 1979; Theweleit 1987). However, the operation of societal power is generally focused on women's bodies and bodily processes. Women, according to a widespread (and controversial) paradigm, are grounded in nature by virtue of the dictates of their bodies: menstruation, pregnancy, birth (Lévi-Strauss 1966, 1969; Ortner 1974; Ardener 1975; Mac-Cormack and Strathern 1986).

Recent advances in information technology have given rise not only to alternative ways of peacebuilding but also to new methods in peace research. This chapter explains methodological strategies related to the interface between peace psychology and Internet. We first differentiate between an experimental-survey and an ethnographic-field approach to peace psychology, and then nuance the procedures for both methods. Experimental and survey approaches use the Internet primarily for data collection. Where time or human safety is of prime concern in a peace research, the Internet provides speed and anonymity, especially for participants who live in contentious and dangerous territories. Researchers can collect online survey data in various ways such as emailing the instrument directly to the respondent, inviting participants through Facebook, or setting up a website that hosts the survey questionnaire. An ethnographic-field approach to peace psychology needs to be sensitized to online political configurations in the virtual field. We elaborate on the nature of the Internet as a political space and clarify how virtual space interacts with the social realities of peace and conflict. Further, we look at how the internet caters to the needs of both the marginalized and the status quo holders. We conclude our chapter by explaining conventional and new ways by which one can collect and analyze peace data found on the Internet. Three of the most prominent research strategies are case studies; content analysis of text, videos, images, and audios; and computational social science methods like data mining and social network analysis.

The development of the culture of mass communications opened up the possibilities of semiotics for creating, constructing an image, for analyzing existing, current images. Today it is possible to speak about the technology of analysis and construction of images. Communications architects regard semiotics as the science of signs, their creation, perception, a science that can enhance the very influence of mass communications. The authors show how semiotics was able to attract them. First of all, it is due to understanding that any object, event, concept, any entity has its own image, which is also a sign. “And a sign appeared to me” - an expression from the biblical parable. According to F. de Saussure, one of the founders of semiotics, this science stands on the unity and interaction of an object and a sign corresponding to it; an object as a signified (a certain verbal essence, a certain object, a concept) and a sign, expressed in a certain form, as a signifier. The article analyzes the signs of social reality and the method itself of such an analysis, including the selection of an object, a subject, a plan of content and a plan of expression, the meaning of a sign-image, etc. The article can be useful in methodological terms to all those who are engaged in both the theory of language and semiotics and those working and studying in the field of public relations and mass communications. English version of the article is available at URL:https://panor.ru/articles/expansion-of-images-in-the-media-and-their-analysis-the-possibilities-of-the-semiotic-method/76863.html

Stereotypical portrayal of women through images and text in the media has been discussed and debated widely across the globe. The area remains relatively under published in the context of the third world especially Pakistan. To fill this gap this paper is an attempt to examine the role of the media in creating gender identities. Data for this study comes from selected English language newspaper namely “THE NEWS”. Discourse analysis of text and images - the most common way of producing and transmitting social meaning attached to social realities was employed to interpret of the data. The data reveals that the images and text produced through the media are biased, patriarchal and they reinforce male hegemony and control over women’s bodies and their minds. By doing this the media is strengthening the existing power structure of the Pakistani society. The images of women produced are those of victims of violence both domestic and public, sex objects, passive, dependent, weak and engaged in domestic roles. Consequently, standard images of feminity are idealized and normalized in the real world. Such practices act as barrier for women to escape traditional gender roles and expectations. The study argues that such images reinforce stereotypical roles and hence promote gender inequality instead of emancipation.

In the wake of growing legalization efforts, both medicinal and recreational marijuana use in the US is becoming more prevalent and societally acceptable. However, racial, criminal and cultural stereotypes linger in mediated visual portrayals. This study examines the extent to which mediated visual portrayals in mainstream news have been impacted by these recent legalization efforts. Employing a quantitative as well as a qualitative analysis of visual images used to represent marijuana use in mainstream news, this study draws upon the power of visual framing and the construction of social reality to examine how visual symbols and iconic signifiers are used to construct both stereotypical and ‘mainstreamed’ or ‘normative’ depictions of marijuana use. Analyzing 458 visuals across 10 different media outlets across the political spectrum, both before and after legalization of marijuana in Colorado, this study shows how news portrayals perpetuated stereotypes about marijuana users, particularly around criminality and pot-culture iconography. Relatively few depictions of marijuana users in the US are visuals of ordinary, ‘normal’ people or families. This study thus interrogates the relationship between representations of race, criminality and ‘pothead’ stereotypes associated with marijuana use, and how these visual representations differ amongst liberal and conservative news sites, finding that the political ideology of the news outlet largely influences the visual stereotyping of marijuana users. The study concludes by considering both the legal and cultural implications of how mainstream news visually represents marijuana use, considering how persistent decades-old representations were largely perpetuated rather than challenged in light of legalization efforts.

The article is devoted to comparative analysis of images and motifs in the novels KalechinaMalechina by Evgenia Nekrasova and I Will Be a Smart Girl by Huang Beijia, about teenage girls. These texts reveal similarities at the level of the image system, the archetypal motifs and the inner development of the mythological plot about the initiation of a child into adulthood. However, many similar motifs in the novels appear in contrasting functions: E. Nekrasova's novel shows the joyless world of an unloved child, while in Huang Beijia's novel we see the world of a wholesome and well-loved child, suffering from her own school failures. The artistic method of the novels is examined in relation to their mythological motifs. The Chinese text gravitates towards the traditions of socialist realism, performing one of its functions most characteristic of teenage literature – didacticism. Huang Beijia's novel can be described as a didactic auteur tale based on biographical material. The Russian text has been described by scholars as «magical» realism and is more than just an initiation novel or a didactic tale. It realises the eternal philosophical sense of the impact of love or its absence on human fate, the ontological abandonment of the human soul facing indifference or aggression from the world around it. It is not the protagonist's initiation but her ability to «survive» without losing herself that is central to the Russian novel.

En este artículo se estudian las representacionesmediáticas de los movimientos de trabajadores desocupados argentinos en tornoa dos de los elementos que constituyen su experiencia: la desocupación y el piqueterismo. Para ello, se articula el análisis de imágenes con el de series discursivas. Si bien este estudio se dedica a un tipo de movimiento en particular,brinda herramientas teórico-metodológicas para otro tipo de abordajes, a la vez que señala modalidades instituidas de construcción de la realidad social que permiten reflexionar sobre los procesos de estigmatización y encorsetamientode las identidades populares beligerantesen general.