References of "Dondero, Maria Giulia"
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See detailLes corps des scientifiques et de l’intellectuel dans la revue La recherche
Dondero, Maria Giulia ULg

in Havelange, Carl (Ed.) La lettre et l'image (2014, June)

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See detailAzione, testualizzazione, notazione
Dondero, Maria Giulia ULg

in Pezzini, Isabella; Spaziante, Lucio (Eds.) Arti del vivere e semiotica (2014)

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See detailLes valeurs et les valorisations des images
Dondero, Maria Giulia ULg

in Biglari, Amir (Ed.) Les valeurs. Aux fondements de la sémiotique (2014)

Cet article vise à explorer la manière dont la sémiotique greimassienne a traité la question des valeurs dans le cadre de l’image, notamment photographique et artistique. Après une relecture critique de ... [more ▼]

Cet article vise à explorer la manière dont la sémiotique greimassienne a traité la question des valeurs dans le cadre de l’image, notamment photographique et artistique. Après une relecture critique de l’ouvrage de Jean-Marie Floch, Les formes de l’empreinte, et de la distinction entre valeurs dans l’image et valorisations des images, ce travail se consacre à l’exposition de nouvelles propositions de la sémiotique des pratiques de Jacques Fontanille en essayant de les lier à des réflexions sur les objets et les pratiques de la photographie artistique (l’utilisation des séries, de l’original, des différents tirages, etc.). Si l’attention est portée surtout sur la photo artistique, ce texte envisage également une comparaison avec les pratiques de l’original et de l’authenticité dans la photo de guerre, la photo de famille et la photo-image pieuse. L’objectif majeur de ce travail est d’étudier les diverses pratiques de valorisation des images photographiques afin de faire éclater la notion ontologique de trace photographique. [less ▲]

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See detailArts et sciences. Approches sémiotiques et philosophiques des images
Dondero, Maria Giulia ULg; Beyaert-Geslin, Anne

Book published by Presses universitaires de Liège (2014)

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See detailQue peut le métalangage ? What can metalanguage do ?
Dondero, Maria Giulia ULg; Provenzano, François ULg; Klinkenberg, Jean-Marie ULg et al

Book published by Presses Universitaires de Liège (2014)

In the social sciences, research that is conveyed in a display of technical language is not always seen in a good light. This is a trend particularly in semiotics. As a field of study, it has a reputation ... [more ▼]

In the social sciences, research that is conveyed in a display of technical language is not always seen in a good light. This is a trend particularly in semiotics. As a field of study, it has a reputation for eagerness to use semio-jargon at the worst, or at best, a reputation for walling itself off in a self-reflective meta-language. It is true that the best known and most cited treatise on structural semiotics, by Greimas and Courtés, was published as an Analytical Dictionary. And it is also true that Peirce's work is prodigiously crammed with terminological inventions and speculations. It would seem that in both cases, the quest for scientific rigor took precedence over elegance of expression and of so-called natural discourse. Nothing new under the sun, n'est-ce pas? They say that a courtesan under Louis XIV scandalized the Sun King's court by uttering a technical term in the king's bedchamber, which illustrates how far back the issue goes; it certainly didn't begin with the development of the academic study of signs. In issue 4 of Signata we would like to examine the various aspects of building the meta-language of semiotics. The intention is not to adopt a philological perspective, but to look at the issue of terminologies in current scientific epistemology. We will examine the diversity of the possible meta-languages (natural language versus technical language?), the influence of related disciplines (what implications do the borrowed terms from grammar, logic, mathematics, and so on have for semiotics?), the reasons — explicit or not — for the choices made, and the stylistic impacts of those choices. An inquiry of this sort could go in many directions. What follows is an open-ended, non-exhaustive enumeration: Semiotics: A special case? Is it actually true that the semiotic approach generates a more prolific meta-linguistic output than other disciplines? How and why? It would be interesting, for example, to do comparisons with these more or less related disciplines (linguistics, sociology, psychology, etc.), to assess whether their rapport with the meta-language might possibly be different, and the reasons for and effects of those differences. In these assessments, of course, there arises the issue of "natural language", which is so readily its own meta-language: Are there disciplines that reconcile themselves with this supposed naturalness without any detriment? An updated meta-language may be deemed as unavoidable for a discipline whose vocation is to generalize, which implies substantial modeling power. But what do we find in philosophy, which can be expressed without abandoning natural language, and which seems to incur less reproach for its jargon than semiotics? The archaeology of meta-languages Another line of inquiry would be of a genealogical nature: This would involve examining the theoretical justifications that underpin meta-language borrowings from this or that other discipline, at this or that other time in its history, and the repercussions, both stylistic and epistemological, of the trade in terminology. On this score, we note that classical structuralism has expressed itself to a great extent in a grammatical and more broadly linguistic language (actants, modalities, deixis, articulation, semes, etc.). But it is common knowledge that other approaches to semantic facts have favored the language of logic. And yet others have shown that it is both possible and effective to use language taken from geometry or optics. In addition to these, from the perspective of the primacy of perception, the language of the natural sciences must be included — particularly that of the neurosciences —, and the language of sensory forms from phenomenology. Whether one is helping oneself to terms like "isotopy" and "valence" from physics and chemistry or "topology" from mathematics, these are not innocent choices in a discipline that has blazed its trail through the social sciences. The epistemological influence of the meta-language. Without any doubt, herein lies the most complex, ambivalent issue. Firstly, when one adopts a meta-language, by definition one views the object of study as a language (whether it is the natural language or the language of images, or the language of social practices). Yet this operation is so laden with consequences that to enumerate them would be an impossible task. We will merely note that many theoretical categories and analytical tools seem to emerge directly from the choice of a particular meta-language and the distance dictated by it. Secondly, opting for one meta-language over another is ipso facto a choice of which explanatory form the analysis will use. It follows that working on the meta-language, far from being a deathly sterile activity, is a practice intended to generate the form the explanation will take (which is without any doubt a major issue in scientific discussion). But these two epistemological impacts of meta-language generation can trigger a great deal of discussion on what we might call "the adverse effects" of the chosen options. For example, if there is a consensus within a group on a particular meta-language (such as in Greimassian semiotics), it may become just a template to apply, simply a schema to project onto objects; but if it is an object of inquiry (such as in Peirce's work), it may yield an approach that is more theoretical than practical. Hence the question: Hasn't semiotics in fact been above all a field with a mix of applied and self-reflective approaches? And in any case, does it truly explain things when one supports a meta-language and seeks to apply it and think within its terms? For example, we might question whether the meta-linguistic power of semiotics hasn't made it a discipline that is quick to generalize, and kept it from focusing on the singularity of its objects. We might also question whether semiotic research isn't all too often more formal than substantial, both in the Hjelmselvian sense and the usual sense. Ultimately, even further up the line, one could debate the epistemological possibility of the meta-language itself — as the poststructuralist philosophies have done. Isn't the distinction between object language and meta-language actually a bit utopian in the natural languages, since it assumes that the terms completely lose their reflexivity? Lastly, we might question whether the meta-language as a theoretical tool doesn't entail more than just artless transparency, but also an effort to define the theory within a restrictive set of evidence. For example, to bring up the "semiotic square" presupposes that there is always a semiotic square that explains the basis of the discourse (in such a way that what was a working hypothesis could become a non-falsifiable theory). The socio-rhetorical effects of the meta-language Aside from the epistemological requirements, when technical terminology is reworked, this has impacts on the circulation of concepts and their appropriation by different groups, which then affects group members' recognition of one another and how they differentiate one group from another. The boundary drawn on a conceptual system by a terminological apparatus thus gives rise to corollary inclusion-exclusion repercussions that are not unimportant. There are fights over terminological legitimacy, whose foremost characteristic is actually that they are not formulated as such. Any meta-language also has impacts on the social aspects of thinking. This is especially true of the meta-language of semiotics, because, due to its dedication to generality and transposability, it must fully support deconstruction. On the other side of the coin, one can maintain that meta-language is to objects what bureaucracy is to communities: It is helpful in creating order and making distinctions, in establishing levels and empty slots, but the risk, then, is that it may become an end in itself that must be maintained and tended, and that it ultimately disallows acting and thinking in other ways. In the light of this rhetorical approach, finally, we will set down some things to consider on the manner in which semiotics talks to itself: Are "techno-speak" and "jargon" inevitable? Are "elegance" and "practicality" valid criteria for a meta-language? What impacts on the meta-language are due to the obligation we often have in semiotics to dialogue with those outside our field: Can/ should this influence the way semiotics is communicated? And what is the cost of this influence? [less ▲]

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See detailLes aventures du corps et de l’identité dans la photographie de mode
Dondero, Maria Giulia ULg

in Nouveaux Actes Sémiotiques (2014), 117

L’objectif de ce travail est d’explorer certaines caractéristiques de la photographie de mode : en premier lieu, les façons dont elle se met en scène en tant que photo de mode, et en second lieu, les ... [more ▼]

L’objectif de ce travail est d’explorer certaines caractéristiques de la photographie de mode : en premier lieu, les façons dont elle se met en scène en tant que photo de mode, et en second lieu, les manières dont elle-même théorise le fonctionnement plus général de l’univers de la mode. [less ▲]

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See detailLa totalité en science et en art
Dondero, Maria Giulia ULg

in Dondero, Maria Giulia; Beyaert-Geslin, Anne (Eds.) Arts et sciences. Approches sémiotiques et philosophiques des images (2014)

Mon étude vise à explorer la notion de totalité en sciences mathématiques et en art afin d’éclaircir le rôle de la perception dans les deux domaines. J’aborderai dans un premier temps la conception de ... [more ▼]

Mon étude vise à explorer la notion de totalité en sciences mathématiques et en art afin d’éclaircir le rôle de la perception dans les deux domaines. J’aborderai dans un premier temps la conception de démonstration visuelle en réfléchissant sur les notions d’hypoicône et de diagramme selon la philosophie mathématique de C.S. Peirce, pour ensuite tester ces notions dans un autre champ, celui des oeuvres d’art (peinture, sculpture, art environnemental). Si dans l’art comme dans les mathématiques, chaque trait appartenant à une configuration visuelle participe d’une totalité et doit occuper la bonne place pour que la totalité puisse fonctionner en tant que telle, la différence est que la totalité est démontable et répétable en mathématiques tandis que dans l’art pictural elle est normalement considérée comme définitive, unique et sacralisée a priori. Dans cet article j'étudie également de formes de totalité plus complexes (sculpture et art environnemental) où la totalité est à construire a posteriori. [less ▲]

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See detailLa sémiotique visuelle face à l'image scientifique
Dondero, Maria Giulia ULg

in Beyaert-Geslin, Anne (Ed.) La sémiotique visuelle aujourd'hui (2014)

Notre texte voudrait contribuer à analyser un champ d’étude qui peut éclairer les évolutions de la discipline et ses perspectives : le rôle de l’image dans le discours scientifique. Si ce rôle a été ... [more ▼]

Notre texte voudrait contribuer à analyser un champ d’étude qui peut éclairer les évolutions de la discipline et ses perspectives : le rôle de l’image dans le discours scientifique. Si ce rôle a été étudié par des méthodes spécifiquement greimassiennes par Françoise Bastide dans les années 1980, aujourd’hui la question de l’image scientifique est au centre des recherches collectives engendrées par plusieurs projets internationaux et peut être abordée par de nouveaux outils analytiques. Nous allons revenir sur certaines propositions classiques de la sémiotique et de la rhétorique visuelles pour tester la manière dont les développements de la sémiotique de la perception pourraient permettre d’évaluer la relation entre les propositions théoriques et les nécessités méthodologiques liées à l’étude du faire scientifique. [less ▲]

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See detailSémiotique de la communication en co-présence et à distance. Du textualisme à la sémiotique des pratiques
Dondero, Maria Giulia ULg; Angenot, Valérie ULg; Joachim, Guillaume ULg et al

in Interfaces Numériques (2013), 2(3), 531-567

This article aims to challenge and reflect on the theories issued by both textualist semiotics and the semiotics of practices. Our reflexion shall focus, on the one hand, on synchronic communication in ... [more ▼]

This article aims to challenge and reflect on the theories issued by both textualist semiotics and the semiotics of practices. Our reflexion shall focus, on the one hand, on synchronic communication in copresence and, on the other hand, on virtual participative remote collaboration by means of digital interfaces. In high-level collaborative activities —such as remote architectural project developments— the practices of the partners involved in the communication process are conditioned by intrinsic material constraints; they have to gradually readapt to the constantly renewed dynamics of the predicative structures in order to ensure communication efficiency. One of the main purposes of this paper consists in exploring the theoretical propositions and methodologies connected to practices, as proposed by Jacques Fontanille’s semiotics (2008) and by Jacques Theureau’s ergonomics of the “course of action” (2006). The results of these theoretical reflections will be tested through their application to a specific corpus, in an aim to confront the efficiency of such proposals with a case study. Multimodality and the role played by the different types of utterances in the efficiency of communication, as well as the adaptation of the semiotic practices to the digital interfaces also fall under the scope of this paper. Besides, the authors propose a reflection on potential mediations between the ongoing practices and their objectivation through textualisation and notation. [less ▲]

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See detailRhétorique visuelle et énonciation
Dondero, Maria Giulia ULg

in Visible (2013), 10

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See detailArts et sciences : Approches sémiotiques et philosophiques des images
Dondero, Maria Giulia ULg; Beyaert-Geslin, Anne

Book published by Presses Universitaires de Liège (2013)

Les images artistiques et scientifiques se ressemblent en de nombreux points parce qu’elles questionnent les formes et les instruments de la créativité, prennent position devant la tradition et visent la ... [more ▼]

Les images artistiques et scientifiques se ressemblent en de nombreux points parce qu’elles questionnent les formes et les instruments de la créativité, prennent position devant la tradition et visent la découverte. Cet ouvrage s’appuie sur la sémiotique et la philosophie pour dépasser les distinctions sommaires et affiner la comparaison. Il s’attache à quelques cas exemplaires d’images qui mettent en crise les distinctions commodes. Il leur offre un espace de transformation permettant de passer d’un monde à l’autre, ce qui permet d’apercevoir les modifications superficielles qu’implique le déplacement du sens mais aussi les obstacles qui les empêchent. Une première partie envisage l’importation des modèles et pratiques scientifiques par l’art. Déplaçant le point de vue, la seconde aborde l’esthétisation et le devenir artistique de l’image scientifique. L’observation de ces passages permet d’interroger les conditions de l’interprétation des images, c’est-à-dire les instruments théoriques et épistémologiques qui autorisent l’interrogation mutuelle. Avec les contributions de C. Allamel-Raffin, A. Beyaert-Geslin, J.F. Bordron, M. Colas-Blaise, B. Darras, M.G. Dondero, O. Le Guern, D. Daou et F. Wesemael, on découvre ainsi comment arts et sciences ne cessent de dialoguer au travers de leurs images, de s’interpeller mutuellement, d’interroger réciproquement leur rapport à la connaissance en réexaminant continument leurs différences. L’emprunt mutuel des modèles et procédures artistiques et scientifiques procède d’une démarche épistémique et introduit une possibilité de distanciation, une plasticité vis-à-vis du croire. Il permet d’interroger les paramètres d’évaluation de la découverte et de réexaminer le rapport à la connaissance de chacun des domaines. [less ▲]

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See detailLa photographie de mode, entre transition er classicisme. Le cas Prada
Dondero, Maria Giulia ULg

in Villelongue, Martine; Saroli, Julie (Eds.) Défier le temps, une affaire de mode (2013, November)

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See detailLes temporalités de la photographie de mode
Dondero, Maria Giulia ULg; Basso Fossali, Pierluigi

in Infra-mince. Revue de Photographie (2013), 8

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See detailLe religieux et le sacré vus à travers l’iconographie de l’olfaction
Dondero, Maria Giulia ULg

in Questions de Communication (2013), 23

This article explores the representation of olfactory sensoriality in modern religious painting as conveyed by the movement of clouds, and thus raises the question of the relationship between the ... [more ▼]

This article explores the representation of olfactory sensoriality in modern religious painting as conveyed by the movement of clouds, and thus raises the question of the relationship between the religious dimension of faith and the sacred contagion of transcendence. The representation of olfaction in pictorial iconography is compared with the disappearance of the holy bodies in contemporary artistic photography and perfume advertising. Interpretive propositions about the distinction of the religious and the sacred in relation to three corpuses are developed with a semiotic methodology. [less ▲]

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See detailCompte-rendu de l'ouvrage de A. Beyaert-Geslin: Sémiotique du design
Dondero, Maria Giulia ULg

in Questions de Communication (2013), 23

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See detailLe rapport entre texte et image dans la littérature de l'astrophysique. Le cas des trous noirs
Dondero, Maria Giulia ULg

in Banks, David (Ed.) L'image dans le texte scientifique (2013)

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See detailCompte-rendu de l'ouvrage de A. Beyaert-Geslin: Sémiotique du design
Dondero, Maria Giulia ULg

in Interfaces numériques (2013), Vol 1(4), 133-140

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See detailPicturing Transcendance
Dondero, Maria Giulia ULg

in Image and Narrative (2013), 13(4), 1-14

This paper will examine how two different media, painting and photography, respond inrepresenting the same theme: the theme of religion and transcendence. Four different culturalobjects will be studied in ... [more ▼]

This paper will examine how two different media, painting and photography, respond inrepresenting the same theme: the theme of religion and transcendence. Four different culturalobjects will be studied in this light: 1) religious painting, 2) artistic photography with a religioustheme, 3) devotional photography that is transformed into holy images, and 4) the Russian icon. Wewill analyse the filtering effect of these two media in the representation of religious themes. We willseek to explain why the religious theme in painting has been able to assume a sacred dimensionwhich, by contrast, seems unachievable in contemporary artistic photography. [less ▲]

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See detailLe parfum dans les iconographies religieuses et publicitaires
Dondero, Maria Giulia ULg

in Brenot, Philippe (Ed.) Le parfum et l'amour (2013)

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