Vikuroivia vilkaisuja : Ruumis, sukupuoli, seksuaalisuus ja visuaalisen kulttuurin tutkimus

The PhD dissertation "Bucking Glances: On Body, Gender, Sexuality and Visual Culture Research" consists of theoretical introduction and five articles published between 2002-2005. The articles analyze the position of visual representations in the processes of knowledge production on acceptable genders, bodies, and sexualities in contemporary Wes¬tern societies. The research material is heterogeneous, consisting of representations of contemporary art, advertisements, and fashion images. The ideological starting point of the PhD dissertation is the politics of the gaze and the methods used to expose this are the concepts of oppositional gaze, close reading, and resisting reading. The study situates visual representations in dialogue with the concepts of the grotesque and androgyny, as well as with queer-theory and theories of the gaze. The research challenges normative meanings of visual representations and opens up space for more non-conventional readings attached to femininity and masculinity. The visual material is read as troubling the prevailing heteronormative gender system. The dissertation also indicates how visual culture research utilizing the approach of queer theory can be fruitful in opposing and re-visioning changes in the repressive gender system. The article "A Heroic Male and A Beautiful Woman. Teemu Mäki, Orlan and the Ambivalence of the Grotesque Body" problematizes the concept of heroic masculinity through the analysis of the Finnish artist Teemu Mäki's masochistic performance The Good Friday (1989). It also analyzes cosmetic surgery, undertaken by the French artist Orlan, as a cultural tool in constructing and visualizing the contemporary, com¬mercial ideals of female beauty. The article "Boys Will Be Girls Will Be Boys Will Be Girls. The Ambivalence of Androgyny in Calvin Klein' Advertisements" is a close reading of the Calvin Klein perfume advertisement One (1998) in reference to the concept of androgyny. The critical point of the article is that androgynous male bodies allow the extension of the categorical boundaries of masculinity and homosexuality, whereas representations of androgynous women feed into the prevailing stereotypes of femininity, namely the fear of fat. The article "See-through Closet: Female Androgyny in the 1990s Fashion Images, New Woman and Lesbian Chic" analyzes the late 1990s fashion advertisements through the concept of female androgyny. The article argues that the figures of the masculine female androgynes in the late 1990s fashion magazines do not problematize the dichotomous gender binary. The women do not pass as men but produce a variation of heterosexual desirability. At the same time, the representations open up space for lesbian gazing and desiring. The article "Why are there no lesbian advertisements?" addresses the issue of femme gaze and desire in relation to heterosexual fashion advertisements from the British edition of the mainstream fashion magazine Vogue. The article considers possibilities for resistant femme visibility, identification, and desire. The article "Woman, Food, Home. Pirjetta Brander's and Heidi Romo's Works as Bucking Representations of Femininity" analyses the production and queering of heteronormative femininity and family through the analysis of art works. The article discusses how the term queer has been translated into Finnish. The article also introduces a new translation for the term queer: the noun vikuuri, i.e. faulty form and the verb vikuroida, i.e. to buck. In Finnish, the term vikuuri is the vernacular or broken form of the term figure, i.e. figuuri. Vikuuri represents all forms situated outside the norm and the normative.

Kotitaloustaidon ulottuvuuksia : Analyysi kotitaloustaidosta eksistentialistis-hermeneuttisen fenomenologian valossa

DOMESTIC SKILLS AS THE ART OF EVERYDAY LIFE. An inquiry about domestic skills as a way of being-in-the-world in the light of existentialist-hermeneutics phenomenology. This study focuses on analyzing domestic skills in a phenomenological manner. The description phenomenological emerges from the interpretation process, which originates from the ontological question of domestic skills. The ontological question of how domestic skills are directs one s phenomenological gaze to the experiencing of domestic skills, rather than merely viewing their action or technical aspects. Along with the ontological question, the axiological question of what the meaning of domestic skills is drives the analysis. This study is both theoretical and philosophical. Phenomenology is the guiding philosophy, theory and methodology of the inquiry. Existentialist-hermeneutics is the emphasis which most appropriately describes the phenomenological attitude adopted within the analysis. Martin Heidegger s philosophy of being and Maurice Merleau-Ponty s philosophy of the lived body essentially form the theoretical base for the inquiry. The analysis reveals domestic skills within a core of Care and the Other. Care and the Other are anchored both in Heidegger s analysis of Dasein and in Merleau-Ponty s analysis of the reversible being-in-the-world. The social nature of being and the action-oriented intentionality of the lived body are embodied in Care and the Other. This ontological base of domestic skills enables us to see the extensions that inhabit in it. These extensions are redoing, emotional experiencing, adapting and emancipating. The analysis connects ability and action, which is why domestic skills and household activity must be seen as a united whole. This united whole is not the matter of the two components of the phenomenon, but is rather the matter of domestic skills as a way of being-in-the-world. Domestic skills are a channel for the phenomenon Home Economics to manifest in our lives. This is the gaze that presents domestic skills as to be like the poetry of everyday life. The main result of the study is the elucidation of the ontology of domestic skills and the naming of its extensions. This growth of philosophical understanding makes it possible to strengthen the science of home economics.

Tiedostumaton nykytaiteessa : Katse, ääni ja aika vuosituhannen taitteen suomalaisessa nykytaiteessa

Leevi Haapala explores moving image works, sculptures and installations from a psychoanalytic perspective in his study The Unconscious in Contemporary Art. The Gaze, Voice and Time in Finnish Contemporary Art at the Turn of the Millennium . The artists included in the study are Eija-Liisa Ahtila, Hans-Christian Berg, Markus Copper, Liisa Lounila and Salla Tykkä. The theoretical framework includes different psychoanalytic readings of the concepts of the gaze, voice and temporality. The installations are based on spatiality and temporality, and their detailed reading emphasizes the medium-specific features of the works as well as their fragmentary nature, heterogeneity and affectivity. The study is cross-disciplinary in that it connects perspectives from the visual culture, new art history and theory to the interpretation of contemporary art. The most important concepts from psychoanalysis, affect theory and trauma discourse used in the study include affect, object a (objet petit a) as articulated by Jacques Lacan, Sigmund Freud s uncanny (das Unheimliche) and trauma. Das Unheimliche has been translated as uncanny in art history under the influence of Rosalind Krauss. The object of the study, the unconscious in contemporary art, is approached through these concepts. The study focuses on Lacan s additions to the list of partial drives: the gaze and voice as scopic and invocative drives and their interpretations in the studies of the moving image. The texts by the American film theorist and art historian Kaja Silverman are in crucial role. The study locates contemporary art as part of trauma culture, which has a tendency to define individual and historical experiences through trauma. Some of the art works point towards trauma, which may appear as a theoretic or fictitious construction. The study presents a comprehensive collection of different kinds of trauma discourse in the field of art research through the texts of Hal Foster, Cathy Caruth, Ruth Leys and Shoshana Felman. The study connects trauma theory with the theoretical analysis of the interference and discontinuity of the moving image in the readings by Susan Buck-Morss, Mary Ann Doane and Peter Osborn among others. The analysis emphasizes different ways of seeing and multisensoriality in the reception of contemporary art. With their reflections and inverse projections, the surprising mechanisms of Hans-Christian Berg s sculptures are connected with Lacan s views on the early mirroring and imitation attempts of the individual s body image. Salla Tykkä s film trilogy Cave invites one to contemplate the Lacanian theory of the gaze in relation to the experiences of being seen. The three oceanic sculpture installations by Markus Copper are studied through the vocality they create, often through an aggressive way of acting, as well as from the point of view of the functioning of an invocative drive. The study compares the work of fiction and Freud s texts on paranoia and psychosis to Eija-Liisa Ahtila s manuscripts and moving image installations about the same topic. The cinematic time in Liisa Lounila s time-slice video installations is approached through the theoretical study of the unconscious temporal structure. The viewer of the moving image is inside the work in an in-between state: in a space produced by the contents of the work and its technology. The installations of the moving image enable us to inhabit different kinds of virtual bodies or spaces, which do not correspond with our everyday experiences. Nevertheless, the works of art often try to deconstruct the identification to what has been shown on screen. This way, the viewer s attention can be fixed on his own unconscious experiences in parallel with the work s deconstructed nature as representation. The study shows that contemporary art is a central cultural practice, which allows us to discuss the unconscious in a meaningful way. The study suggests that the agency that is discursively diffuse and consists of several different praxes should be called the unconscious. The emergence of the unconscious can happen in two areas: in contemporary art through different senses and discursive elements, and in the study of contemporary art, which, being a linguistic activity is sensitive to the movements of the unconscious. One of the missions of art research is to build different kinds of articulated constructs and to open an interpretative space for the nature of art as an event.

Mutual inhibition and capacity sharing during parallel preparation of serial eye movements

Many common activities, like reading, scanning scenes, or searching for an inconspicuous item in a cluttered environment, entail serial movements of the eyes that shift the gaze from one object to another. Previous studies have shown that the primate brain is capable of programming sequential saccadic eye movements in parallel. Given that the onset of saccades directed to a target are unpredictable in individual trials, what prevents a saccade during parallel programming from being executed in the direction of the second target before execution of another saccade in the direction of the first target remains unclear. Using a computational model, here we demonstrate that sequential saccades inhibit each other and share the brain's limited processing resources (capacity) so that the planning of a saccade in the direction of the first target always finishes first. In this framework, the latency of a saccade increases linearly with the fraction of capacity allocated to the other saccade in the sequence, and exponentially with the duration of capacity sharing. Our study establishes a link between the dual-task paradigm and the ramp-to-threshold model of response time to identify a physiologically viable mechanism that preserves the serial order of saccades without compromising the speed of performance.

La oda latina a Venus de Garcilaso de la Vega: adopción de la tradición clásica y su traducción española como relación de transitividad

Resumen: Garcilaso de la Vega, siguiendo el canon pedagógico humanista, se constituyó en un poeta que no solo adoptó la tradición de la lírica clásica en la absorción de temas y motivos, sino que también ensayó la composición de odas, a la manera horaciana, en lengua latina. Estas composiciones, regidas por las reglas métricas que se enseñaban en las escuelas de gramática y retórica, conservan la estructura estrófica y la rigurosa alternancia de sílabas breves y largas. El interés filológico en torno de estos poemas, por los cuales Garcilaso fue elogiado por los intelectuales de su época, es tardío ya que en las primeras ediciones de la obra del toledano no aparecen; será a finales del siglo XIX cuando se ponga la mirada sobre ellos y se comprenderá cuál es la importancia del contexto italiano de composición y el compromiso del poeta con lo clásico. Este cruce de imaginarios, que tiene como límite último la producción poética de Garcilaso, puede entenderse como un ejercicio de traducibilidad entre el sentido de un sistema semiótico adoptado, como es en este caso la utilización de la lengua latina, y la posibilidad de decir algo de ello, lo que implica producir significación; asimismo este juego de traspasos enunciativos se completa con la traducción a la lengua española de las odas latinas de Garcilaso. En consecuencia, los objetivos de la presente comunicación están orientados a analizar los dos pasos de la actividad semántica que se opera en toda relación de traducción: en este caso entre la oda a Venus creada por el poeta hispano y la versión de Nemesia Matarrodona Vizcaíno, quien transpone al español el texto garcilasiano en la edición de Sotelo Salas, del año 1976.

Imaginação social jesuítica do Padre Antônio Vieira no Maranhão do Século XVII

O padre Antônio Vieira é uma figura icônica do Barroco literário no Brasil do século XVII, visto por muitos como um dos grandes representantes da Companhia de Jesus. A presente tese busca contemplar um tema recorrente na historiografia jesuítica brasileira que trata do papel desempenhado pelos jesuítas na tentativa de construção de uma terrena cidade celeste segundo Neves, no novo mundo (Brasil colônia) e, particularmente, das práticas sociais (sobretudo, políticas, religiosas, ideológicas, jurídicas) do padre Antônio Vieira suas implicações e rupturas no Maranhão seiscentista sob o olhar do imaginário social. Através de três sermões proferidos no Maranhão, pretendemos analisar e dialogar sobre as imagens mais recorrentes na produção sermonística do Padre Antônio Vieira: como nosso objeto de pesquisa também é a produção imagética do sujeito Vieira, utilizamos como referencial teórico a noção ideológica de sujeito de Mikhail Bakhthin, as noções do Imaginário de Gilbert Durand e Gaston Bachelard, as teorias sobre o Imaginário Social jesuítico do antropólogo e pesquisador Luiz Felipe Baêta Neves e outros grandes teóricos, para nos ajudar a analisar essas imagens. Buscamos uma possível estrutura do imaginário social do padre Antônio Vieira durante sua presença no Maranhão a partir dos sermões analisados e levantamos os processos de ruptura e continuidade com os projetos do missionário e da Companhia de Jesus na formação da sociedade maranhense.

O governo Collor sob o olhar da FIRJAN

Esta dissertação visa investigar a percepção e a atuação política da Federação das Indústrias do Estado do Rio de Janeiro durante o governo do então Presidente da República, Fernando Collor de Mello. O governo Collor foi signo de uma transição de modelo de acumulação do capital. Cientes desse processo engendrado pela globalização econômica, os empresários fluminenses reuniramse na V Pleninco, a intenção era a de alicerçar um projeto hegemônico que vislumbrava a manutenção da coerência estruturada da região. Durante os anos de 1990 e 1992, foram implementados dois planos econômicos que dialogavam com uma boa parcela dos interesses desses empresários, embora o resultado econômico esperado a curto prazo e médio prazos não tenham sido alcançados com êxito. Isso contribuiu para o desgaste da imagem do governo perante à população, agentes econômicos e seus pares da classe política. A reação de Collor para manter a governabilidade adveio com a formulação do Projeto de Reconstrução Nacional, o qual foi debatido por empresários, políticos e trabalhadores. Contudo, não havia consenso na FIRJAN de que as reformas propostas pelo governo seriam materializadas a curto e médio prazos, dessa maneira, gerando reação e articulação da entidade industrial em âmbito regional e nacional. A CPI do PC só iria adensar os problemas de relação entre governo e Congresso Nacional. Diferentemente de outras entidades de classe, a FIRJAN apoiou o Presidente da República até sua saída. Toda essa conjuntura é analisada e discutida neste trabalho a partir da perspectiva da FIRJAN.

A Relação entre Trabalho e Educação na Formação Profissional: um estudo sobre as residências multiprofissionais em saúde

A presente dissertação tem como objeto as residências multiprofissionais em saúde, uma modalidade de formação profissional em nível de pós -graduação lato sensu, que se caracteriza segundo as legislações pertinentes como treinamento em serviço em unidades de saúde. O objetivo geral desse estudo se volta para analisar como se constitui os referenciais epistemológicos e ético-políticos que orientam a residência multiprofissional em saúde, de modo a desvelar a relação teoria -prática nesse modelo de formação sob o olhar dos residentes. Além da análise de documentos, a metodologia da pesquisa empírica consistiu na análise dos resultados obtidos com as entrevistas junto aos residentes. Entrevistamos doze residentes participantes do Fórum Nacional de Residentes Multiprofissionais em Saúde (FNRMS), de diferentes regiões do Brasil. A pesquisa aponta para a conformação de um mosaico teórico e empírico nessa modalidade de formação que se traduz no caráter academicista, resultando em uma concepção fragmentária da relação teoria-prática e no distanciamento entre a academia e os serviços de saúde. Aponta, ainda, para a existência do pragmatismo, revelado pelo trabalho no seu sentido pedagógico, na lógica do aprender fazendo, característico dessa formação. Consideramos, por fim, que a residência assume características do trabalho alienado com particularidades do contexto atual da política de saúde e que questão central é a ausência do sentido da práxis nos programas em que se inserem os residentes entrevistados

"My" i "oni", "swój" i "obcy". Bałkany XX wieku z perspektywy kolonialnej i postkolonialnej

W artykule został przeanalizowany dyskurs bałkański XX wieku z kolonialnego i postkolonialnego punktu widzenia. Pierwsza część przybliża geopolityczny stosunek do Bałkanów,The Balans in the Gaze of Western Travellers (2004) jako przykłady korygującego wobec istniejących dotychczas reprezentacji i wyobrażeń Bałkanów. skupia się jednak nie tylko na nazwie geograficznej Półwysep Bałkański, lecz przede wszystkim na figuratywnym i metaforycznym języku, bazującym na stereotypach i negatywnych „etykietkach” Bałkanów, takich jak: „beczka prochu”, obszar „zadawnionej nienawiści”, „zderzenie cywilizacji”, „strefa rozłamu”, europejskie „jądro ciemności”, „dzika Europa”, „jeszcze- nie” Europa. Ten stosunek opiera się na opozycji My-Oni z kolonialnego, punktu widzenia Zachodu. W drugiej części tekstu zostaje przeprowadzona analiza trzech utworów prozatorskich autorstwa wybitnych pisarzy z Bałkanów – chorwacki dyskurs literacki jest reprezentowany przez Miroslava Krležę w opowiadaniu W Dreźnie. Mister Wu San Pej interesuje się problemem serbsko-chorwackim (1924), serbski dyskurs przedstawia Ivo Andrić w opowiadaniu List z roku 1920 (1946), natomiast bośniacki – Nenad Veličković i jego powieść epistolarna Sahib. Impresje z depresji (2001). Te trzy dyskursy z różnych przełomowych dla Jugosławii okresów pokazują, że pisarze chętnie sięgali po figurę „Obcego”, by uwypuklić problemy związane z własną złożoną, często zwielokrotnioną tożsamością. Ostatnia część akcentuje nowe, postkolonialne podejście do problemu Bałkanów – uczestniczą w nim wybitni naukowcy pochodzący z tego regionu, którzy zrobili kariery w Europie Zachodniej i USA. W tej części zostają zaprezentowane trzy fundamentalne dla tego problemu książki – studium Marii Todorowej (Bułgarka) Imagining the Balkans (1997), monografia Vesny Bjelogrlić-Goldsworthy (Serbka) Inventing Ruritania: The Imperializm of the Imagination (1998) oraz antropologiczna książka Božidara Jezernika (Słoweniec) Wild Europe.

Spatial updating across saccades during manual interception

We studied the effect of intervening saccades on the manual interception of a moving target. Previous studies suggest that stationary reach goals are coded and updated across saccades in gaze-centered coordinates, but whether this generalizes to interception is unknown. Subjects (n = 9) reached to manually intercept a moving target after it was rendered invisible. Subjects either fixated throughout the trial or made a saccade before reaching (both fixation points were in the range of -10° to 10°). Consistent with previous findings and our control experiment with stationary targets, the interception errors depended on the direction of the remembered moving goal relative to the new eye position, as if the target is coded and updated across the saccade in gaze-centered coordinates. However, our results were also more variable in that the interception errors for more than half of our subjects also depended on the goal direction relative to the initial gaze direction. This suggests that the feedforward transformations for interception differ from those for stationary targets. Our analyses show that the interception errors reflect a combination of biases in the (gaze-centered) representation of target motion and in the transformation of goal information into body-centered coordinates for action.

Visuomotor transformation for interception:catching while fixating

Catching a ball involves a dynamic transformation of visual information about ball motion into motor commands for moving the hand to the right place at the right time. We previously formulated a neural model for this transformation to account for the consistent leftward movement biases observed in our catching experiments. According to the model, these biases arise within the representation of target motion as well as within the transformation from a gaze-centered to a body-centered movement command. Here, we examine the validity of the latter aspect of our model in a catching task involving gaze fixation. Gaze fixation should systematically influence biases in catching movements, because in the model movement commands are only generated in the direction perpendicular to the gaze direction. Twelve participants caught balls while gazing at a fixation point positioned either straight ahead or 14 degrees to the right. Four participants were excluded because they could not adequately maintain fixation. We again observed a consistent leftward movement bias, but the catching movements were unaffected by fixation direction. This result refutes our proposal that the leftward bias partly arises within the visuomotor transformation, and suggests instead that the bias predominantly arises within the early representation of target motion, specifically through an imbalance in the represented radial and azimuthal target motion.

Cinematic Peripheries of Dublin

The term periphery is, most of the time, used with or in relation to the centre. The ‘zoning’ taken by granted by the architect is unlike the one portrayed by the director who frames the differences of places in a non-linear manner. Film offers a constructed urban experience, suggesting the city to be a local network composed of nodes and links, rather than a centre and the margin. It is possible to talk about the construction of a new kind of network in film through a temporal representation of space, of the distant as the close. In this way, film may be a tool to shift the gaze from the bird’s-eye view to the eye level to create ‘a unified perceptual image of the city’, in Christine Boyer’s words. The experienced surface of the city is two-dimensional neither in fiction nor in reality. In this chapter, the nodes of Dublin are examined through two Irish films, Goldfish Memory (Elizabeth Gill, 2003) and Adam and Paul (Leonard Abrahamson, 2004). Specific elements of the city of Dublin, including walls, houses, pubs, streets, bridges, and parks, are analysed to understand the nature of the network of the city composed of nodes and their connections.

Role of early visual cortex in trans-saccadic memory of object features

Early visual cortex (EVC) participates in visual feature memory and the updating of remembered locations across saccades, but its role in the trans-saccadic integration of object features is unknown. We hypothesized that if EVC is involved in updating object features relative to gaze, feature memory should be disrupted when saccades remap an object representation into a simultaneously perturbed EVC site. To test this, we applied transcranial magnetic stimulation (TMS) over functional magnetic resonance imaging-localized EVC clusters corresponding to the bottom left/right visual quadrants (VQs). During experiments, these VQs were probed psychophysically by briefly presenting a central object (Gabor patch) while subjects fixated gaze to the right or left (and above). After a short memory interval, participants were required to detect the relative change in orientation of a re-presented test object at the same spatial location. Participants either sustained fixation during the memory interval (fixation task) or made a horizontal saccade that either maintained or reversed the VQ of the object (saccade task). Three TMS pulses (coinciding with the pre-, peri-, and postsaccade intervals) were applied to the left or right EVC. This had no effect when (a) fixation was maintained, (b) saccades kept the object in the same VQ, or (c) the EVC quadrant corresponding to the first object was stimulated. However, as predicted, TMS reduced performance when saccades (especially larger saccades) crossed the remembered object location and brought it into the VQ corresponding to the TMS site. This suppression effect was statistically significant for leftward saccades and followed a weaker trend for rightward saccades. These causal results are consistent with the idea that EVC is involved in the gaze-centered updating of object features for trans-saccadic memory and perception.

Monsenhor Airosa - pedagogo - empresário : história do colégio de regeneração de Braga : (1869-1931)

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2015

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.