Heribert Rücker: Auch Wissenschaften sind nur Bilder ihrer Maler. Eine Hermeneutik der Abbildung
Ray David: A Mimetic Psyche
Anastasia Christodoulou, George Damaskinidis: The Press Briefing as an ESP Educational Microworld: An Example of Social Semiotics and Multimodal Analysis
Katharina Schulz: Geschichte, Rezeption und Wandel der Fernsehserie
The article deals with a hermeneutical reflection of the thesis, that already the conceptual language itself is an objectifying image of the human self-confidence. As an image the conceptual language is autonomic but unable to grasp the origin of images. The origin of the conceptual language – the human – cannot be detected in the language itself and therefore additionally not in the conceptual world view of sciences.
Apollo come dance with me explores, through my exegesis and art practice, the expression of chaos and order as a creative paradigm in Ancient Greek Attic (tragic) theatre, Ancient Greek Attic (black-figure) vase painting as well as my painting art practice. The project is comprised of three suites of paintings and an exegesis that examines the mimetic, metaphoric and metamorphic expression inherent in these three forms of art practice. The exegesis details the methods, methodology, philosophy and psychology of their visual expression. The point of engagement with tragic theatre’s chaos-and-order creative paradigm in my art practice is through my utilisation of portraits of myself and my family members to represent characters from the Theban plays by Sophocles. In so doing, my contemporary art practice depicts the individual and society in terms of tragic theatre’s exploration of human experience: the social, psychological and cognitive relationships of the characters with each other and with the external world. I use the technique of superimposition in my art practice to explore assemblage, layering, multiplicity, duality and dichotomies as vehicles of artistic enquiry. The process of creating multiplicity and difference in turn generates metamorphosis and precipitates an engagement with forces of chaos and order in my paintings. Philosophically, superimposition is used to employ a rhizomatic system of consideration and construction, as described by the philosopher Deleuze and psychoanalyst Guattari. This rhizomatic process enables me to transform a visual representation of Hegel’s dialectic philosophical system of enquiry into a philosophical expression of affirmation through multiplicity and chance – akin to Nietzsche’s notion of the same. The utilisation and representation of a chaos-and-order creative paradigm in my painting art practice is facilitated by the pre-eminent, and most enduring form of visual expression – that of figuration. My art practice engages, in the broadest sense, with the creative forces utilised in artistic cognition and the cosmos and in a more specific sense with form and space, as well as line and colour. In so doing, the project details my understanding of the physics and psychology of change, chance and metamorphoses as forces of creation.
Autoren: Anastasia Christodoulou, George Damaskinidis
This paper explores the concept of the educational microworld as an interactive learning environment. Using as a case study a computer-based language activity, titled Operational Update, in the area of teaching English for Specific Purposes, we demonstrate how an intersemiotic PowerPoint slide show could become an educational microworld in a specific professional context, the military. This language activity was based on a series of NATO press briefings held during the Kosovo conflict in 1999. In order to investigate this microworld as a literacy event, we use a framework that combines social semiotics and multimodality. By analyzing each semiotic element as an independent meaning-making resource and examining how all modes are jointly used, we investigate the ways the stakeholders of this microworld use social resources for communicating meanings. We conclude by proposing an extension of this microworld in the areas of teaching English as a foreign language and intercultural communication.
Since the 1990s, television series are in transition from low-budget productions towards complex and costly projects that can easily compete with blockbuster movies. First of all, the following essay will outline this development and attempt to illustrate the history of serials beginning with soap-operas. Another part focuses on the social relevance of this particular TV format and the changes that were introduced by the technological progress of the last ten years. Finally, the term ›Quality TV‹ will be explained and discussed. In addition, the resulting changes in the consumers’ view of televised serials will be portrayed and examined.
