References of "Dondero, Maria Giulia"
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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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See detailEntretien avec Pierre Boudon
Dondero, Maria Giulia ULg; Ben Rajeb, Samia ULg

in Interfaces Numériques (2013), 2(3),

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See detailVisualisation et mathématisation
Dondero, Maria Giulia ULg; Badir, Sémir ULg

in Visible (2012), 9

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See detailLe spectacle dans l'image et la spectacularisation de l'image
Dondero, Maria Giulia ULg

in Degrés : Revue de Synthèses à Orientation Sémiologique (2012), 151-152

Dans cette étude, j’explore trois manières de concevoir la relation entre image et spectacle. Les deux premières concernent le niveau sémiotique de l’énoncé visuel, voire de la configuration de l’image ... [more ▼]

Dans cette étude, j’explore trois manières de concevoir la relation entre image et spectacle. Les deux premières concernent le niveau sémiotique de l’énoncé visuel, voire de la configuration de l’image (chaque image contient ses propres instructions d’observation, c’est-à-dire elle nous propose un certain parcours du regard, des contraintes de lecture, voire une dramatisation/spectacularisation des points de vue), et la troisième le niveau de l’objet qui expose l’image au public ainsi que la scène prédicative qui s’instaure dans un cadre institutionnalisé (par exemple un musée). [less ▲]

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See detailLa sémiotique face à la médiation du discours religieux
Dondero, Maria Giulia ULg

in Semiotica (2012), 191(1/4), 19-36

This work wishes to study how two different media, painting and photography, react to the representation of the same theme, namely the theme of religion and transcendence. It will involve taking as ... [more ▼]

This work wishes to study how two different media, painting and photography, react to the representation of the same theme, namely the theme of religion and transcendence. It will involve taking as objects of study four different cultural objects: 1) religious painting, 2) artistic photography with a religious theme, 3) devotional photography which is transformed into pious images, and 4) the Russian icon. We will analyse the filter-effect produced by these two media in the representation of religious themes. We will seek to explain why the religious theme in painting has been able to assume a sacred dimension which, contrastingly, seems inaccessible to contemporary artistic photography. [less ▲]

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See detailDiagrammatic experiment in Mathematics and in Works of Art
Dondero, Maria Giulia ULg

in Haworth, Karen (Ed.) Proceedings of the 37th Annual Meeting of the Semiotic Society of America (Semiotics 2011) (2012, September)

This talk aims to compare the theory of diagram presented in Peirce’s philosophy of mathematics and reflections on the work of art formulated by Henry Van Lier and René Thom. The Peircean Theory of ... [more ▼]

This talk aims to compare the theory of diagram presented in Peirce’s philosophy of mathematics and reflections on the work of art formulated by Henry Van Lier and René Thom. The Peircean Theory of diagram states that a diagram is a visual configuration characterized as a totality that is necessary and at the same time dynamic and experimental. In his lectures about the relation between the local and the global in art (Apologie du logos, 1990), Thom traces a theory of contours of forms that is very similar to the conception of diagram in Peirce’s philosophy. For Thom, beauty is the result of strategies of framing and of composing parts in a dynamic totality. Van Lier’s reflections on works of art develop the idea of a perfect totality characterized by a syntax of traits that are at the right place and that couldn’t be organized in any other way, without which the work of art would have no efficacy. For my part, I aim to explore these similar conceptions of a necessary totality in the arts (aesthetic necessity) and in mathematical diagrams (the necessity in demonstration through forms) in order to describe the differences and the similarities between the theories and the domains of application. [less ▲]

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See detailLa totalité diagrammatique en mathématiques et en art
Dondero, Maria Giulia ULg

in Visible (2012), 9

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See detailLe diagramme entre perception visuelle et mathématique
Dondero, Maria Giulia ULg

in Visible (2012), 8

Ce texte s’interroge sur la spécificité de l’image scientifique par rapport à d’autres outils de représentation et d’autres statuts de l’image – tel que le statut artistique. Il propose des éléments de ... [more ▼]

Ce texte s’interroge sur la spécificité de l’image scientifique par rapport à d’autres outils de représentation et d’autres statuts de l’image – tel que le statut artistique. Il propose des éléments de réflexion à partir de trois questions principales : 1) est-ce qu’on peut élaborer une définition de l’image scientifique qui soit commune à toutes les disciplines scientifiques ? 2) Quels types de rapport s’établissent entre les images scientifiques et les images artistiques ? S’agit-il d’une différence ontologique ou bien pragmatique ? 3) Est-ce que le dispositif de l’image trouve son terme opposé dans le texte verbal, suivant l’ancienne distinction entre analogue et digital ? Est-ce que par contre l’image trouve son terme opposé dans le langage formel des mathématiques ? [less ▲]

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See detailDes images à problèmes. Le sens du visuel à l'épreuve de l'image scientifique
Dondero, Maria Giulia ULg; Fontanille, Jacques

Book published by Presses universitaires de Limoges (PULIM) (2012)

The study of scientific images opens up new horizons for semiotic reflection, if only because of the two practical functions commonly attributed to these images: a specific cognitive function and an ... [more ▼]

The study of scientific images opens up new horizons for semiotic reflection, if only because of the two practical functions commonly attributed to these images: a specific cognitive function and an experimental function. They have a cognitive function in the sense that they facilitate a better understanding of the things they represent, or imprint. Of course this is also true of a photograph used in an investigation, which provides information that may eventually lead to the thing of which it is an index, but its referent is part of the shared world of perception, and is consequently identifiable independently of the image. Conversely, in contemporary scientific practice, the image is supposed to manifest something that is not necessarily known prior to imaging it, and consequently, shaping the image also entails shaping the cognitive object. The cognitive function of the scientific image is therefore primarily prospective, and in some ways predictive. [less ▲]

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See detailÉnonciation visuelle et négation en image : des arts aux sciences
Dondero, Maria Giulia ULg

in Nouveaux Actes Sémiotiques (2012)

Ce travail part du constat que l’image peut prédiquer et vise à démontrer qu’elle possède la capacité de nier. Nous examinons différentes grandeurs discursives (image-texte, série, intertextualité, genre ... [more ▼]

Ce travail part du constat que l’image peut prédiquer et vise à démontrer qu’elle possède la capacité de nier. Nous examinons différentes grandeurs discursives (image-texte, série, intertextualité, genre, statut) où peut se manifester la négation d’un point de vue tensif et méréologique et nous essayons d’en caractériser les différents fonctionnements dans deux domaines d’interprétation variés : les domaines artistique et scientifique. Il s’agit en premier lieu de voir comment l’image met en scène des dispositifs métadiscursifs qui nient la fonction principale de l’image : celle d’être regardée. L’image peut moduler ce qu’elle met en scène par soustraction, diminution, détournement, etc. ou représenter quelque chose d’interdit au regard, en construisant des simulacres d’observateurs en espions ou en voyeurs. En deuxième lieu nous étudions des cas de détournement de la fonction générique du portrait en nature morte via un parcours de dé-singularisation du visage humain, et en troisième lieu nous examinons des images scientifiques visualisant des objets non expérimentables qui posent la question de la représentation de la disparition de la lumière (trous noirs) ou des mirages topologiques (selon la théorie de l’univers chiffonné de J-P. Luminet). [less ▲]

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See detailSemiotica della leggerezza in immagine. Gli angeli in fotografia
Dondero, Maria Giulia ULg

in Curreri, Luciano (Ed.) La leggerezza: mode d'emploi (2012)

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See detailLa sémiotique, entre autres / Semiotics, among others
Dondero, Maria Giulia ULg; Provenzano, François ULg; Klinkenberg, Jean-Marie ULg et al

in Signata. Annales des Sémiotiques = Annals of Semiotics (2011), 2

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