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Imagery (Psychology) --- Imagery (Psychology) --- Therapeutic use
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Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle.
Imagery (Psychology) --- Imagery (Psychology) --- Therapeutic use.
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The image, before representing, to signify, acts and makes act. The performance of images, which this book undertakes exploration, is to be understood first of all as the evaluation of their effectiveness: what are the effects of images? It is then their agency: in what way are images living beings? It is also their performativity: as there are acts of speech, there are acts of image whose modalities can be detailed. Finally, it is their power: what can an image, including a text, for example, be incapable? Christian image holds a special place here because, far from being a simple "Bible of illiterate "subject to the reign of the text, it permeates all aspects of the life and thought of Christian societies, from their theological and anthropological foundations - God created man in his image; the Son is the image of the Father - up to the most diverse uses of visual objects. But in the West it is not only in the Middle Ages that the images are active: this book is also devoted to the new forms of visual performances that appeared with the Renaissance or the mass-media society.
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Florus’ work has always been regarded as a summary of Livy’s broader narrative, reorganized around a “biological” conception of history to become more effective. The design of his historical account, however, is the result of a series of strategies outlined by the author himself in his praefatio. There Florus reveals his methodology to the reader by declaring that he intends to operate like “those who paint the regions of the earth.” My analysis of this work shows that Florus sacrifices the accuracy of historical information in order to present the Roman history from the origins to the Augustan age as a coherent trajectory that justifies the Empire. On the one hand, this path is made “visible” through the use of an “evolutionary” narrative pattern, characterized by the transition between different aetates; on the other hand, it can be defined as “geographical,” for it mirrors the Roman imperialistic expansion. The only break in this linear narrative is the account of the civil wars from the age of the Gracchi onward, recounted all together in Book 2 for the sake of clarity. In this case Florus employs a new strategy, that shatters the chronological arrangement of the material to privilege the discussion of agonizing ethical considerations. This monograph also examines the stylistic choices adopted by Florus throughout his narrative. The use of the metaphor and the direct intervention of the author, who comments on particular events or characters, inserting questions and interjections, create an original synthesis of history and rhetoric that aims at gaining the reader’s approval. Florus’ resorting to techniques commonly employed in declamations speaks to the artistic value of his work L’opera storiografica di Floro è sempre stata considerata una sintesi della più ampia narrazione di Livio, sebbene riorganizzata in funzione di una maggiore efficacia narrativa all’interno di una visione “biologica” della storia. Il racconto, tuttavia, è costruito attraverso una serie di strategie che l’autore stesso sintetizza nella praefatio, dove dichiara di voler operare come “coloro che dipingono i luoghi della terra”, comunicando così al lettore l’adozione di una precisa scelta di metodo. L’analisi di questo testo dimostra infatti che, anche sacrificando l’esattezza del dato storico, la cura dell’autore è rivolta a rendere la storia di Roma dalle origini ad Augusto un percorso coerente che giustifichi l’impero, “visibile” attraverso un criterio narrativo “evolutivo” tracciato dai passaggi delle diverse aetates, ma anche “geografico”, in linea con la politica espansionistica romana. L’unica interruzione è costituita dal racconto delle guerre civili accorpate per esigenza di chiarezza tutte nel secondo libro, dall’età dei Gracchi in poi, con una nuova strategia, che infrange l’andamento cronologico a tutto vantaggio di una sofferta riflessione etica. Il volume evidenzia anche le specifiche soluzioni formali adottate nel corso del racconto: la metafora, l’intervento diretto dell’autore che commenta fatti e personaggi o inserisce domande ed esclamazioni creano una sintesi originale di storia e retorica, finalizzata ad ottenere il consenso del lettore, sull’onda dei meccanismi declamatori fortemente sedimentati in un testo a cui va restituito il giusto valore letterario .
xxxx --- Florus --- Imagery --- Historiography
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