Imaginary

Universität Turin, 13.05.2021, ESCL-Tagung "Narrations des origines"

Der Vortrag möchte den funktionalen Zusammenhang von Nacktheit und Imagination untersuchen und aufzeigen, wie innerhalb einer Kultur der Bekleidung das Begehren, unter den Textilien den nackten Körper zu erblicken, als Urszene des Ästhetischen entworfen wird.
In einem ersten Teil werden ausgehend von verschiedenen Kulturtheorien (u.a. Freud und Descola) theoretische Zugänge zur Nacktheit entwickelt, die die Nacktheit als Figuration von ‚Natur‘ in den Blick nehmen und rekonstruieren, inwiefern dabei diese nackte Natur einer bekleideten Kultur gegenübergestellt wird.
Der zweite Teil verfolgt diese theoretischen Zusammenhänge an ausgewählten Beispielen aus der Literatur- und Kulturgeschichte des nackten Körpers: zunächst bei Ovid im antiken Mythos, wo bereits die Gegensätzlichkeit von Nacktheit und Imagination angelegt ist, und dann mit Blick auf das 18. Jahrhundert und Johann Joachim Winckelmann im Besonderen. Dabei zeigen sich in Winckelmanns Texten (Gedanken über die Nachahmung; Geschichte der Kunst des Altertums) zwei verschiedene Konzeptionen der Nacktheit, die in der Gegenüberstellung von Natur und Kunst die Dichotomie von Natur und Kultur hervortreiben.

This talk wants to examine the relationship between nudity and imagination and show how within a culture of clothing the desire to glimpse the naked body under textiles is designed as a primal scene of the aesthetic.
In the first part, theoretical approaches to nakedness are developed based on various cultural theories (including Freud and Descola) that focus on nakedness as a figuration of 'nature' and reconstruct the extent to which this naked nature is thereby juxtaposed with a clothed culture.
The second part traces these theoretical correlations through selected examples from the literary and cultural history of the naked body: first with Ovid in the ancient myth, where the opposition of nakedness and imagination is already laid out, and then with a view to the 18th century and Johann Joachim Winckelmann in particular. In Winckelmann's texts (Gedanken über die Nachahmung; Geschichte der Kunst des Altertums) two different conceptions of nudity are revealed, which in the opposition of nature and art emphasize the dichotomy of nature and culture.

Esta proposta de discussão é fruto do desenvolvimento das pesquisas originadas do Trabalho de Conclusão de Curso, que objetivou analisar a construção do imaginário acerca da figura do Diabo na sociedade católica europeia no século XV. Dentre esta perspectiva, debruçou-se sobre o Malleus Maleficarum (1487), importante obra que serviu para instruir o processo de caça as bruxas, na passagem do século XV para o XVI, para a realização desta análise. Buscou-se orientar a interpretação de nosso objeto de pesquisa, o Diabo, sob a perspectiva complementar: o estudo do objeto enquanto imaginário . Nossa proposta concerniu em perceber como a intrínseca relação entre a cultura popular e a cultura erudita, colaboraram para que o Diabo e seus seguidores ocupassem o cenário principal no imaginário europeu, através desta amálgama de comportamentos e tradições.

The opposition between the naked and the clothed body is one of the most productive elements of cultural history and is often associated with the dichotomy between nature and culture. According to tradition, nudity stimulates the imagination and is the imaginary origin of art. The article examines this narrative in Ovid’s Metamorphoses and in the eighteenth century in Rousseau, the Encyclopédie, and Winckelmann, in order to show its poetic productivity, but also its colonial entanglements.

The concept of "virtual" widely used today is polysemantic, but the reasons for this are not quite clear. The article is devoted to the study of some linguistic (semantic) and philosophical reasons for the existence of “Platonic” (real, imaginary) and “Aristotelian” (possible, effective) meanings in which the sense of the word "virtual" is expressed in Russian. The word "virtual" is derived from the Latin word "virtus". The semantics of the word "virtus" happens to be interconnected with the meanings of the words "ἀρετή", "δύναμις" and "potentia", since the Latin word "virtus", which has two semantic “dominants” — "virtue" is the “Platonic” dominant and "power" is the “Aristotelian” one, — was used to translate two Greek words: "ἀρετή" (virtue) and "δύναμις" (strength, power, might), and the Greek word "δύναμις" was translated by two Latin words: "virtus" (righteous divine power) and "potentia" / "potentialitas" (ability, power). Through Plato’s doctrine of arete-eidos, the concept of "virtus" is also connected with the concept of "εἶδος". Thus, the “Platonic” line of meanings expressing the sense of the word "virtual" is connected with the concepts of "ἀρετή" and "εἶδος", and the “Aristotelian” line — with the concepts of "δύναμις" and "potentia". All meanings of the words "virtus", "ἀρετή", "δύναμις" and "potentia" can be divided into three groups: “Platonic,” “Aristotelian,” and “Platonic-Aristotelian”. The sense of the English word "virtual" is expressed when translated into Russian by the following four meanings: a) factual, real; being something in essence, really (and not formally); b) imaginary; c) possible; d) effective. The meanings "a" and "b" can be attributed to the “Platonic” line, and the meanings "c" and "d" — to the “Aristotelian” one. It is considered how the mutual influence of the meanings of the words "virtus", "ἀρετή", "δύναμις" and "potentia" in the three specified groups could lead to the formation of the four above-mentioned meanings, in which the sense of the word "virtual" is expressed in Russian. Key words: virtus, ἀρετή (virtue), εἶδος, δύναμις (ability / possibility), potentia (power), the virtual, Plato, Aristotle, ontology, semantics.

The medieval imaginary emerged as a corpus of discursive formations, which do not always have a strictly Byzantine source. Some elements of ethics and justice, of social organization or relationship between the perceptible and the non-perceptible, of understanding the divine and correlation with ethical faith and duty, have their roots in the philosophical imaginary of the ancient political system, the first system that aimed at the construction of a model of civic society. The ″inheritance″ at the level of the collective imaginary is, thus, not only Christian, but also ancient.    Without having established an unmediated scientific relationship with the ancient texts whence the philosophical imaginary of the political can be extracted the medieval Romanian power followed the natural community formation routes, which were derived from a social model. This type of organization was re-interpreted by the philosophers of Christian power and theologically included in the oikonomic plan.    The practical interpretation given by Romanian lawmakers to some of the post-Byzantine political ideas aimed at an adaptation of those discursive formations, which governed the trans-state collective imaginary in the area of influence of the empire1. The Romanian imaginary itself will spring from these intersections between a normal line of socio-economic coalescence and a political plan for the formation of a state unit with its own acknowledged ″national″ identity, under the influence of the ″basileic chimera″. Finally, the ″history of the imperial idea for the Romanians will be that of a compromise between a political ideal and practical realities”.2

This paper retraces the histories of two Italian networking projects of the mid-19990s: the national infrastructural plan named Socrate, launched by the monopolist Telecom Italia in 1994 and the civic network Iperbole, launched by the municipality of Bologna in 1995. Relying upon a corpus of primary sources and in-depth interviews with key-informants, the paper stresses the complex relationship between infrastructures, networks and media imaginaries in Italy at a time when the large-scale diffusion of the Internet and the World Wide Web were still in fieri. The same years of the WWW's first diffusion were in fact a period of negotiation at local, national, and international level between various actors and different ways of envisioning the upcoming digital age. The paper shows how the history of Socrate challenges the idea of the centrality of the Web and the Internet in company discourses of the mid-1990s juxtaposing a different narrative and an imaginary of networking infrastructures linked to broadcasting media. Conversely the case of Iperbole is a particular example of public service use of the Internet on the wave of a political and cultural tradition that looked at media as strategic tools, rather than theoretical models, for democratisation.

As opposed to traditional nomads, backpackers, or tourists, digital nomads are defined as Internet-enabled remote workers, who maintain a focus on connectivity and productivity even in leisure. This essay discusses the relationship between Instagram and the digital nomad from a theoretical perspective, proposing a critique of the aesthetics and urban politics that underlie this figure. Inspired by recent theories that combine geopolitical and technological insight with a speculative approach, the article positions the digital nomad as a cultural avatar of contemporary neoliberalism, which celebrates a depoliticized aesthetics of work and helps establish a material geography of globalization through social media. In particular, the essay leverages the concept of tagging (not only intended as the use of hashtags like #digitalnomad, #solotraveller, or #remotework, but also geotagging) as a tool for cultural critique, discussing Instagram as a key site of intersection between the imaginary appeal of the traveling entrepreneur and the material effects of globalized gentrification. The conclusion provocatively suggests that, with the increasing economic and geopolitical influence of digital nomadism, Instagram might become a site of negotiation of the figure’s culture and aesthetics, potentially steering them toward a more radical re-imagination of borders and life beyond work. By offering a cultural critique of the digital nomad, the essay contributes to critical discourse on Instagram as a cultural platform.

La mort et l’immortalité hantent par excellence l’imaginaire depuis l’aube des temps au point d’apparaître comme une des directions vertébrales des mythologies et comme un élément structurant de la culture humaine et de la vie en société. A cet égard, la littérature de science-fiction contemporaine renouvelle pour partie cet imaginaire de l’ineffable de la mort, offrant des voies d’exploration sur le processus d’allongement de l’espérance de vie, voire d’immortalité. Nous considérons ici principalement deux œuvres : Gens de la Lune de John Varley (Steel Beach, 1992) et Les voyages électriques d’Ijon Tichy (Dzienniki Gwiazdowe, 1976) de Stanislas Lem.  Chacune pose à sa façon plusieurs problèmes clefs : le changement de regard sur la mort lorsqu’elle n’appartient plus à l’inéluctable proche, la lassitude psychologique d’une vie indéfiniment continuée, la divergence culturelle entre générations lorsque des êtres humains ayant plusieurs siècles de différences se côtoient, etc. En contrepoint d’études historiques sur la mort, il s’agit ici de tenter un regard prospectif à l’aide de ces textes de science-fiction au contenu souvent très philosophique. L’énigme de la mort n’y disparaît pas ; elle s’y trouve souvent profondément renouvelée.

Unexpected Encounters is an architectural board game for two players, in which these players create diagrammatic models of 'the home' they imagine against and with each other, and in which this act of play creates a spatial language that results in unexpected narratives of the notion of domesticity. The research element of the game focuses on how 'place' and 'placelessness' are constructed and interpreted through our innate creativity by manipulating the intricate operations of initial design decisions. This exhibition is a performance of o2: U E, where designers meet with others through their imaginations.

« Que le cinéma aille à sa perte, c’est le seul cinéma. Que le monde aille à sa perte, qu’il aille à sa perte, c’est la seule politique. » (Le Camion, premier projet). Si l’on a beaucoup glosé sur la vocation politique de cette double déclaration, autant peut-être que sur le projet cinématographique d’ensemble qu’elle semble supposer, d’aucuns parlant de cinéma impossible ou de mort du cinéma (Madeleine Borgomano, Sarah Gaspari), l’on n’a jamais vraiment comparé la structure des deux propositions : elles apparaissent rigoureusement parallèles, mais elles ne le sont pas. Aux yeux de Duras, le cheminement vers la perte est une politique par rapport au monde, mais le cinéma est déjà en soi un cheminement vers la perte, intrinsèquement, essentiellement.
En ce sens, il faut interroger à nouveaux frais l’aspect apocalyptique du cinéma de Duras, non plus au départ de sa réflexion politique littéraire (Détruire, dit-elle, Abahn, Sabana, David) mais bien plutôt à l’aune d’un pouvoir qu’elle accorde singulièrement à l’image et non au texte. Si elle réécrivait la plupart de ses textes, parfois de manière obsessionnelle, Duras n’a jamais déclaré un livre raté (tout au plus L’homme menti et Theodora Katz n’ont-ils jamais été achevés, mais ils n’ont pas été publiés non plus). Par contre, selon son propre et fier aveu, son cinéma est un ensemble de films ratés ou d’échecs, ce qui n’empêche pas l’écrivain de les donner à voir. L’apocalypse du cinéma durassien est thématique (tous les spécialistes l’ont constaté), mais elle est également structurelle, elle est conditionnée par le matériau : l’image est apocalyptique. L’image est un révélateur (au double sens photographique et apocalyptique), mais la révélation n’annonce que la perte et la destruction par l’opération même de la monstration. Ce qui est montré est toujours déjà irrémédiablement perdu et détruit.
Cette réflexion globale se décline selon deux axes qui sont autant de questions : d’une part, quelle est cette essence singulière que Duras attache à l’image ?, et d’autre part, pourquoi Duras ne considère-t-elle pas le texte sur le même plan que l’image ? Le premier axe permet ainsi de reparcourir l’ensemble de la production cinématographique durassienne : les délabrements du décor et la disparition des personnages de Son nom de Venise dans Calcutta désert, le ratage sur lequel reposent Le Camion et Le Navire Night, le reniement de Baxter, Véra Baxter, le noir abyssal de L’homme atlantique, mais aussi la perspective de la perte qui s’insinue dès les propositions de traitement de l’image dans le scénario de Hiroshima mon amour.

Résumé : Le présent article vise à mettre au jour les soubassements imaginaires d’un objet socio-technique urbain contemporain : l’Autolib’. Sur la base d’une enquête de terrain approfondie, elle-même couplée à une phénoménologie herméneutique consistante, nous montrons que la petite voiture de location d’apparence anodine, mise en place à Paris en 2011, se révèle être un indicateur privilégié d’une dynamique macro-sociale sous-jacente : soit le passage d’une épistémê "moderne" à une épistèmê "postmoderne". A travers l’examen de l’esthétique du véhicule (que l’on caractérise comme poly-identificatoire), comme de ses caractéristiques et fonctionnalités les plus saillantes (la voiture électrique connectée illustre le topos contemporain de "l’enracinement dynamique"), nous mettons au jour les diverses modalités socio-anthropologiques qui permettent d’envisager l’objet "Autolib’" comme le produit/producteur, parmi d’autres choses, d’un nouveau "bassin sémantique".

Mots-clés : Autolib’ ; postmodernité ; topique socio-culturelle de l’imaginaire.

Cet article prend le débat américain sur la mort du roman, qui a éclaté dans les années 1960, comme un exemple de crise culturelle. C'est que la mort du roman n'est qu'une crise parmi d'autres, un épisode dans une longue séquence de morts qui, au-delà de la littérature, a aussi touché Dieu, l'homme, l'auteur, la musique, la peinture, l'Histoire, les idéologies et qui rejoint, dernièrement, le livre et la culture de l'imprimé. De façon à comprendre comment cette dernière crise, la fin du livre, reproduit la mort du roman, je vais décrire les deux comme les manifestations d'un même imaginaire qui s'empare d'une situation de transition pour la présenter comme une fin.

No presente artigo, apresentamos uma reflexão sobre a noção de imagem a partir da fotografia que ficou conhecida como The Falling Man, feita durante o atentado de 11 de setembro de 2001 em Nova Iorque. Essa discussão toma o sistema do imaginário antropológico como uma perspectiva embasadora dos questionamentos acerca da existência de um pensamento por imagem. O texto inicia explorando o alcance da perspectiva do discurso visual e os limites de se tomar a imagem como argumento e chega a apontar para a necessidade de adicionar elementos da teoria da imagem à discussão no caso de fotografias que venham a se tornam elas mesmas um acontecimento.

This paper presents a discussion on the notion of image starting with the photograph that becameknown as The Falling Man, made during the 9/11 attack in New York. This reflection takes the systemof the anthropological imaginary as an underlying perspective of the questions about the existence ofa thought by image. The text begins by exploring the scope of the perspective of visual discourse andthe limits of taking the image as an argument and arrives to point the need to add elements of imagetheory to discussion in the case of photographs that will become themselves an event.

In this paper we take an inside look at Franz Innerhofer's novel "Schöne Tage", questioning the role of the author in the autobio-graphic work and trying to reveal the type of images and imagery which describes Innerhofer's fiction the best. Thereby we recognize some Aristotelian nuances (the anthropocentric imaginary) and Freudian influences (the tendency to explain the memories through psychological analysis). On this basis we identify the several worlds which the main character Holl passes through, his stages of psychological evolution and the connection between the structure / shape / linguistic features and the content / the ideas / the themes of Schöne Tage. Hoch gelobt und scharf kritisiert, erlebte Franz Innerhofer seinen Ruhm als ein plötzlich aufblühendes großes Feuer, das ebenso unerwartet erlöschte. Schnell am Literaturhimmel auf-gegangen und ebenso schnell davon verschwunden, erfreute sich der Schriftsteller kaum einer fundierten Beurteilung sei-ner Texte, da sein Name ständig zwischen ‚Erfolg' und ‚Schei-tern' pendelte. Durch die folgende Analyse des Romans "Schöne Tage" wird nicht nur die Wiederherstellung des Gleichgewichts verfolgt, sondern auch die Spur, die das Imaginäre Innerhofers beschreiben könnte.

The article raises the hypothesis that the activity of imagination cannot be fully described by a functional description. To this end, two positions are analyzed: the philosophy of Cornelius Castoriadis, who emphasizes social imaginary and radical imagination, is juxtaposed with Gilbert Simondon’s theory of cyclic and genetic images. Castoriadis’ consideration reveals the specific character of indeterminacy, found in the work of imagination, which enables the coexistence of contradictions in psyche. Based on this reading I propose to perceive imagination through a semi-deterministic take. Whilst it is also possible to see an effort to overcome functional determination in Simondon’s theory, the latter also offers a way to interpret the imagination beyond the anthropological realm. The image ensures the field of mutual potentiality between organisms and their milieus, and this relationality is never fully determined, but rather semi-determined. Thus, by providing the tools for rethinking of determination and functionality, the juxtaposition of Castoriadis and Simondon enables to speculate on the need of a possible concept of sociobiological imagination.

La nueva versión de WSS hace un excelente trabajo situando la historia en una más justa perspectiva. No se limita a la mera rivalidad entre pandillas sin causas, sino que elabora sus contornos económicos, culturales, raciales y de género. La nueva versión confronta la rigidez estructural centrada en la música de Bernstein y la letra de Sondheim. Aun así, Spielberg alteró los fundamentos de esta estructura insertando la versión revolucionaria de la Borinqueña, posiblemente el cambio más atrevido de la producción. A no ser porque la letra del himno borinqueño la compuso una mujer (Lola Rodríguez de Tió), el público puertorriqueño se habría inclinado justamente a ver esta cara de esa historia como una versión en la que los hombres invocan su nacionalidad para imponer respeto, dignidad y hombría a la vez que urge la dignidad entre las mujeres, aunque inclinadas a adaptarse a la sociedad norteamericana. Sin embargo, de principio a fin, la secuencia anímica de la historia comienza con la afirmación nacional, seguido de conformismo y sujeción a las normas culturales, luego la decepción ante el rechazo, concluyendo con un sentido de reafirmación. Es la otra cara de esa historia.

The prominent role played by algorithmic platforms in people’s everyday lives has in recent years triggered a growing interest towards algorithmic imaginaries, intended as worlds of experience users make of the algorithmic media, thereby building up their own awareness of the platform and in turn moulding the algorithm itself through their performativity. Today, part of the construction of individual cultures takes place on streaming platforms, media environments where subjects access cultural materials and cultural exchanges occur. Platforms, such as Netflix or Spotify, have become privileged sites for studying the platformization of cultural production and the construction of algorithmic imaginaries by users and developers. Despite this, to date little has been discussed about cultural creators’ algorithmic imaginaries. This paper intends to discuss how to include algorithmic imaginaries in research regarding platforms and cultural production, by focusing on the case of music plat...

If humans construct and imagine their worlds, what then is the common grounding condition of that construction? Or, more prosaically, what are the dominant social imaginaries, local and global, through which we as humans live in these worlds? These questions suggest the emerging dominance of a modern constructivist orientation. Even if not under conditions of our choosing or understanding, we act in the world to make that world. The first variation of this orientation was psychoanalytic tending towards the psychosocial—from Jacques Lacan and Jean-Paul Sartre to writers as diverse as Cornelius Castoriadis and Kathleen Lennon. The second variation was constitutively social, and here the key figures are Charles Taylor and Manfred Steger. This essay lays out the case for the approach developed by Manfred Steger (2008). It suggests that his definition of the social imaginary as a patterned convocation of the social whole through which people express their social existence—for example in the figure of the globe, of the nation, or even of the abstracted order (or disorder) of our time—provides a point of departure for handing the complexities that have inevitably arisen with using a far-ranging term, especially one that carries so much baggage.

"In this paper we seek to outline some aspects evidencing imaginary’s
communicational dimension. This means we need to pay attention to the way
collective imagining shapes social reality and how publicity contributes to this
process. Suggesting a close link between imaginary, society and publicity, we
name “public imaginal” to the dynamic, symbolic and complex set of diverse and
heterogeneous imaginaries that permeate societies.
Keywords: Imaginary; Imaginal; Publicity; Communication; Mediatization"

Une traduction ne peut se résumer à un échange clair et univoque de signes, qui seraient automatiquement remplaçables l’un par l’autre. La notion d’imaginaire permet d’éclairer les choix traductifs, d’une part en mettant à jour certaines conceptions et représentations du traduire conditionnant celui-ci (les imaginaires du traduire), d’autre part en explorant lesnombreuses préconceptions, explicites ou implicites, personnelles ou générales, propres à qui traduit, et qui en influencent et modèlent le travail (les imaginaires des traducteurs et traductrices). Concept hybride, puisant tour à tour dans les sciences sociales, la psychologie ou l’esthétique, l’imaginaire constitue donc un nouvel instrument, utilisable dans toute trousse à outils traductologique, mais également une méthode éclairant d’autres perspectives épistémologiques : interculturalité, herméneutique, histoire littéraire, jusqu’à permettre d’isoler des éléments récurrents, permettant d’esquisser une potentielle cartographie des phénomènes
traductifs. Il constitue également une manière de lier davantage l’approche comparatiste et l’étude des traductions.

Η πρόταση επικεντρώνεται στην ανάλυση των διαφορετικών εκφράσεων της ετερότητας και της πολυπλοκότητας μέσα στην αρχιτεκτονική παραγωγή του χώρου, του χρόνου και του σώματος, ή αλλιώς στον ενσώματο μεταβαλλόμενο χρονότοπο της αρχιτεκτονικής σύνθεσης στις περιρρέουσες ατμόσφαιρες της σύγχρονης δημιουργίας. Αναλυτικά, το ενδιαφέρον επικεντρώνεται στην ύπαρξη αρχιτεκτονικών εγχειρημάτων που περιέχουν πιθανές χωρικές λύσεις, που μπορούν να παραλάβουν χρονικά εξελίσσιμα συμβάντα, συνήθως αντισυμβατικής δυναμικότητας που όμως έχουν την ικανότητα να μετασχηματίζουν τον αρχικό χώρο πρότασης σε ένα νέο, συχνά οδηγώντας σε μια συνεχώς εξελικτική αρχιτεκτονική πρόταση μιας τεταμένης ρευστότητας (Τσουκαλά, 2014) που αναζητά τη ενσώματη συνθήκη. Αν ο ρόλος της αρχιτεκτονικής σκέψης είναι να προβλέπει, να επιλέγει ανάμεσα σε διαφορετικά εναλλακτικά παρόντα (Amann, Seguí, 2012), αν ο αρχιτεκτονικός σχεδιασμός έχει ως στόχο να αναδεικνύει νέες αφηγήσεις, νέα πλαίσια καθημερινότητας -δυνητικά και υλικά- αυτή η εισήγηση προσπαθεί να προσθέσει μια κριτική ματιά στις θεωρήσεις,  αναπαραστάσεις και κατανοήσεις του απόλυτου, του παγκόσμιου και του φυσικού, είτε αναφερόμαστε σε χωρικές ή χρονικές συνιστώσες είτε στις σωματικές διαστάσεις, αναλύοντας ταυτόχρονα νέες μεθόδους σχεδιασμού και παραμετρισμού.

Resumo:
Este artigo trata da viagem imaginária de um leigo chamado Amaro e seu percurso em busca do Paraíso Terrestre. A obra anônima é de origem portuguesa e foi produzida no Mosteiro de Alcobaça (códice 266) entre fins do século XIV e início do século XV. O texto guarda pontos de contato com a Navigatio Sancti Brendani Abbatis, relato sobre São Brandão e com narrativas irlandesas, como The Voyage of Bran (Imram Brain Maic Feibal). Uma das diferenças entre Amaro e Brandão é que na narrativa sobre Amaro, o papel feminino é fundamental tanto na proteção do eleito durante a viagem, quanto na sua condução ao Paraíso terreal, o que leva a aproximações com os relatos célticos.
Palavras-chave: Conto de Amaro, viagem imaginária, Portugal, feminino, Paraíso Terreal.


Abstract:
This paper deals with an imaginary voyage from a laic called Amaro and his journey in search of terrestrial Paradise. The anonymous work is from Portuguese origin and was produced in the Monastery of Alcabaça (codex 266) between the end of 14th century and the beginning of 15 th century. The text has connections with Navigatio Sancti Brendani Abbatis, narrative about Saint Brendan and with irish narratives, such as The Voyage of Bran (Imram Brain Maic Feibal). One of the differences between Amaro and Brendan is that in the manuscript about Amaro, the feminine role is fundamental both in the protection of the elected one during the voyage and in is his conduction to the terrestrial Paradise, which leads to approximations with the celtic voyage stories.
Keywords: Tale of Amaro (Conto de Amaro), imaginary journey, Portugal, feminine, Terrestrial Paradise

This paper attempts to frame a hermeneutic narratology of interactive digital storytelling in light of Paul Ricoeur's philosophy and the narratology of the French New Rhetoric. For starters, I propose to bring to light an underlying rationale to demonstrate the significance of interactive storytelling in videogames that go beyond entertainment. This rationale rejoins the perennial ontological and epistemological questions. I will then analyze how the threefold mimesis functions par excellence in interactive storytelling. Lastly, my theoretical framing will be completed with the praxis dimension of mimesis, a discussion of semiotic and morphological orientation for emplotment, for future digital poiesis.

O artigo aqui apresentado tem como objetivo uma análise do Imaginário Romano do Oriente no século I E.C.. Pretende-se fazê-la a partir de trechos retirados do texto anônimo intitulado “O Périplo do Mar Eritreu”, o qual narra portos, cidades e povos descritos pelo autor como parte da jornada realizada através desse universo plural que, em sua época, englobava a Costa Leste da África, a Península Arábica e a Índia.

TRAMA é um projeto que envolve mais que o batom vermelho em si. Ele foi a
criação de uma instalação para explorar a formação, a agregação de valor e o
estudo do imaginário, utilizando um espaço multimídia com exposição de fotos,
vídeo fragmentos e p erformance art ou p erformance artística. Surgiu para
promover a experimentação e sensibilização quanto ao tema, que teve como
inspiração as histórias de pessoas reais sobre questões sociais e culturais que
são relacionadas ao objeto.
Durante o processo de construção do espaço, houve a necessidade de
aproximação do público, e o compartilhamento do conteúdo para debate se
expandiu para as redes sociais.
PalavrasChave:
Imaginário; Comunicação; Arte; Instalação; Batom Vermelho.

ABSTRACT

TRAMA is a project that involves more than red lipstick itself. It was the creation
of a art installation to explore the formation, the adding value of the studies
about the imaginary using a multimedia space with photo exhibition , video
fragments and performance art or artistic performance. It appeared to promote
experimentation and awareness on the issue , which was inspired by the stories
of real people on social and cultural issues that are related to the object.
During the space construction process, it was necessary to approach the public,
and sharing of content to debate expanded to social networks.
Key words:
Imaginary; Communication; Art; Installation; Red lipstick.

The dissertation investigates how military UAV’s (unmanned aerial vehicles), or so-called drones, are represented within the aesthetic field as a “drone imaginary,” reflecting radical changes in the history of warfare. Using the imaginary as a conceptual framework, the drone is analyzed as a cultural construct fueled with ideological and political imagination, including, above all, promises of liberation from the burdens and vulnerabilities of human lives and bodies in war. The main goal of the dissertation is to critically analyze how the drone imaginary builds on a fantasy of the perfect weapon which is, essentially, cruel. Drawing on Lauren Berlant’s thoughts and ideas, my claim is therefore that the social and cultural imagination of drone warfare follows a logic of cruel optimism. This means that the object for these desires, the drone, becomes an obstacle for its own flourishing by actively impeding the goal it promises to fulfill. In other words, my aim is to show how the popular attachment to drones is formed by fantasies and imaginations that are “cruel” in so far as they compromise themselves and obstruct their aims through a negative feedback loop, which constantly negates the promises these very same machines seem able to deliver on regarding a higher and safer mode of warfare.

Each of the chapters in the dissertation contains examples that demonstrate how these fantasies and promises in turn prove to be flawed or imperfect. Using the realm of aesthetics as prism, the analyses expose the darker side of this drone imagination focusing on its inherent cracks and frailties that altogether undermine the legitimacy as well as soundness of the fantasy of the drone as a new wonder-weapon. For instance, the analyses show how figurations of drone automation is uncannily non-human; how drone invincibility also entail trauma; how dreams of total vision become blurred by immensity; and how the myth of surgical precision ends up as carnage. Thus, each chapter specifically examines one of these drone figurations in order to show how they are con-figured into the larger drone imaginary.

Based on strategies of close-reading in combination with a cross-disciplinary conceptual approach, the dissertation offers new insights to the rapidly growing field of academic drone research. While this field has, however, so far mostly focused on the political, juridical, and ethical aspects of drone warfare and less on imaginary, literary, and aesthetic constructions and configurations vibrating beneath these debates, the dissertation contributes with an alternative cultural drone imaginary.

Les Mains d'Orlac, roman de Maurice Renard publié en 1920, relate l'histoire d'une double greffe de mains sur un pianiste accidenté. Nous en faisons ici une triple analyse concernant l'épistémologie implicite du discours, le travail sur le schéma corporel et la question de l'identité hybride. M. Renard est un des rares écrivains de science-fiction a avoir théorisé sa propre pratique, en montrant qu'elle repose sur un modèle hypothético-déductif où l'hypothèse provient d'une analogie, d'une généralisation ou d'un fait nouveau fictif. Ici, il s'agit de généraliser l'art de la greffe végétale au monde animal et particulièrement à l'homme. Le roman, de plus, montre une grande attention à l'appropriation sensorimotrice des mains greffées, dans un effort pour adapter son schéma corporel passé à ces mains nouvelles. Enfin, puisqu'il s'agit des mains d'un criminel un conflit identitaire oppose Orlac à elles, avant qu'on ne découvre l'innocence du condamné. On peut noter aussi le télescopage temporelle avec la première double greffes de mains réelle, accomplie en 2000 alors qu'un personnage du roman s'exclame justement : « On se croirait en l'an 2000 ! », et l'hommage rendu par le chirurgien réel – le Pr. Dubernard – à Alexis Carrel, tandis que le chirurgien du roman, le Dr Cerral, s'en inspire directement.

https://en.unipress.dk/udgivelser/a/ascending-and-descending-the-acropolis/

This chapter discusses one of the ancient Greek rituals associated with maenads, during which the participants left their homes and the city to worship Dionysus at the mountains. While historians of religion and archaeologists are becoming increasingly aware that the movement of worshipers must have played an important role in their ritual experience, archaeological finds are not available for every ritual. The ritual at the mountain is one such ritual. The chapter therefore turns to the so-called “early” sources on maenadism from the fifth century BC, both literary and visual, and the analysis assumes that these sources form part of the Athenian imaginary, they belong to the realm of representations. The first part describes the structuring of space in the Bacchae, while the second moves back in time to the first third of the fifth century BC and to a small group of Attic vases. Just as the study of archaeological space has proven informative in tracing the worshipers’ experience in a sanctuary, the consistent representation of this mountain space as related to movement, dancing and an altered state of consciousness could also shed some light on the ritual experience of maenads in the Athenian imaginary.

Don  Quixote,  in  addition  to  being  a  literary  masterpiece,  is  also  an  inexhaustible epistemic  reservoir  that  we  need  to  draw  on  in  order  to  understand  what  the relationship  between  imaginary  and  reality  is  made  of  and  the  peculiar  way  it  is articulated  in  different  eras,  not  only  in  Modernity.  In  this  essay  -  from  the perspective  of  Social  Theory  and  the  Social  Change  analysis  -  I  will  try  to  highlight how  Cervantes'  novel  anticipates  by  many  centuries  what  will  be  the  most important  epistemological  (and  aesthetic)  acquisitions  of  the  20th  century.  Don Quixote  is,  from  this  point  of  view,  a  poetic  treatise  on  the  epistemology  of complexity  that  reveals,  in  its  folds,  the  mechanisms  of  functioning  of  complex systems and the paradoxes that are produced in them.After mentioning what makes this work unique in the cultural landscape of any age, I  will  therefore  dwell  on  its  great  epistemic  legacy.  In  addition  to  having  made  it possible  to  highlight  the  existence  of  multiple  realities  (Schütz,  2008),  it  consists  in having  created  an  immortal  mimetic  device  that  ostensibly  illustrates  the  co-essentiality and secret relationships between reality and the imaginary, anticipating the  relational  and  systemic  character  of  social  reality  and  the  risks  that  lurk  in  the inauspicious treatment of its complexity.

Having for many years the theme of "complex thought" as developed by Pavel Florensky at the centre of his philosophical and theological research interest, the author of the article highlights an important aspect of complexity, namely, the imaginary dimension as a structural part of reality. First of all, he shows how Florensky, famous Russian mathematician, physicist, electro-technical engineer, philosopher and theologian, comes to explain the existence of the imaginary dimension starting from his original interpretation of Albert Einstein's theory of relativity, made with reference to Dante Alighieri's Divine Comedy. Consequently, he explains that the existence of this dimension coincides with the existence of a general predisposition of every human being to the experience of the "imaginary" as a door towards the "mysterious depths" of reality, the depths that in many cases tend to manifest themselves. Christian theology and spirituality help to know and experience exactly this kind of complexity of reality, glimpsing its vital and dynamic connection with the Trinitarian being of God.

The book identifies the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand and their ideas on the collective unsconscious and the two orders of  the image, respectively.