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This paper explores the phenomenon of iconic image clusters and presents a method for analyzing them. It specifically focuses on compiling individual images into extensive image clusters, such as weblogs, photo series, or image galleries. The analytical interest in this topic is based on the assumption that the compilation and presentation of images are independent means of expression and presentation in visual media. Iconic image clusters can emphasize thematic aspects, highlight contrasts, create styles, or provide visual evidence. In other words, iconic image clusters reflect several communicative possibilities that arise from the technical reproducibility of images. Iconic image clusters belong to the subclass of contemporary hypertext / hyperimage phenomena in media theory and are manifestations of the human ability to generate meaning through relations of similarity and difference in communication theory. This article addresses how iconic image clusters can be analyzed validly. It discusses the communicative structure and functioning of such clusters and proposes a procedure for their analysis. The proposed method is illustrated with examples, including a photographic weblog.

Is there any difference between the widely discussed 'pictorial turn' and the emerging 'iconic turn'? If so, does it matter? The answers to these questions are positive if we look at the problem from a cultural sociological point of view. It has been observed that the concept of the 'iconic turn', coined by a German philosopher Gottfried Boehm, may capture more effectively the sense of life attributed to visual objects than W.J.T. Mitchell's famous 'pictorial turn'. This article endorses this conjecture and provides a theoretical context for its justification. It thus contributes to the emerging debate about the paradigm shift in studies of visual culture.

Introduction. In recent years, the anthropocentric scientific paradigm has been actively developing and the experimental method of research in linguistics is becoming increasingly popular and relevant. This article is devoted to the experiment of studying the process of perception iconic lexis of the unfamiliar language. Scientific novelty of this study is determined both by the selected material and methods of presenting this material for consideration.Methodology and sources. The basis for the experiment was a survey for native English speakers who did not know the language of the target stimuli (Russian). To conduct the experiment, a corpus of verbs of motion was used (546 verbs, 2273 word usages). The corpus was selected from 12 novels of English literature of the 20-21st centuries, as well as contextual translations of these verbs into Russian. During the study, a group of respondents (106 people) of both genders, various social and age groups were offered 20 English contextual uses of phonetically motivated verbs of motion, which were pre-selected from the above-mentioned corpus of verbs. In each sentence, a verb of motion was highlighted, and also a sound recording of two Russian verbs was presented, which was a translation of the highlighted English verb and its synonym. The total number of responses was 2120.Results and discussion. Participants of the experiment were asked to choose one of two Russian words that corresponded to the highlighted English word in the best way. Respondents chose with great confidence 4 iconic verbs of motion out of 15 pairs of synonyms in which only one verb is phonetically motivated. In 3 cases, respondents more often preferred the non-iconic word. The remaining pairs of synonyms were divided approximately equally. The more developed syntax of the Russian language compared to English, which sometimes obscured the sound motivated basis of the word could be a possible reason for this. Conclusion. The results of the experiment show that the perception of phonetically motivated units of an unfamiliar language depends on many factors. Thus, native English speakers who do not speak Russian or who speak it at a minimal level do not perceive Russian iconic vocabulary in all cases. Simultaneously, statistically significant differences in the perception by people of different age groups and gender were not revealed during the experiment.

This article analyses how the medium of film stages and reflects on populist political practices and on the main figures and ways of appearing, acting and relating they involve to create public resonance. In analysing two sample films – one (Meet John Doe, Frank Capra 1941) released in the United States in the early 1940s and the other (Chez Nous,Lucas Belvaux 2016) made in Europe in the 2010s – it shows in detail how populist leaders embody the role of a central iconic figure, the 'everybody', in addressing the audience as 'people' in opposition to an 'elite'. The central characteristics of such a figure and its functions in political discourses as well as the effects of its public performances and the stages it uses are disclosed. In addition, the article gives an insight into the genealogy and iconology of this figure. In this respect, it shows that for contemporary populism, the link of everybodies to the political myth of 'the people' re-emerging with the popular revolutions of the seventeenth and eighteenth century is most important.In comparing the two sample films, the article discusses various concepts that are used in political theory to grasp the phenomenon of populism. By relating these concepts to the lived practices of populism depicted in the films, the key stylistic and performative features of populism are highlighted and the patterns of collective myths associated with it are revealed. At the same time, however, the change in populist political mobilisation from modernity to late modernity is also discussed. In this reading, popular film appears as a medium that does not represent an escape from social and political life but that leads us towards it and is able to vividly reflect upon how processes of political mediation work.

AbstractPrevious research has shown differences in monolingual and bilingual communication. We explored whether monolingual and bilingual pre‐schoolers (N = 80) differ in their ability to understand others' iconic gestures (gesture perception) and produce intelligible iconic gestures themselves (gesture production) and how these two abilities are related to differences in parental iconic gesture frequency. In a gesture perception task, the experimenter replaced the last word of every sentence with an iconic gesture. The child was then asked to choose one of four pictures that matched the gesture as well as the sentence. In a gesture production task, children were asked to indicate 'with their hands' to a deaf puppet which objects to select. Finally, parental gesture frequency was measured while parents answered three different questions. In the iconic gesture perception task, monolingual and bilingual children did not differ. In contrast, bilinguals produced more intelligible gestures than their monolingual peers. Finally, bilingual children's parents gestured more while they spoke than monolingual children's parents. We suggest that bilinguals' heightened sensitivity to their interaction partner supports their ability to produce intelligible gestures and results in a bilingual advantage in iconic gesture production.

Considers the relationship between feminism and social change aimed to ensure that feminist thinking is "passed on" to the next generation. This account selects iconic events that indicate major social change in the demographic transition to non-replacement populations. Interrogation of the notion of "sexual difference" & "gender" finds the two terms to be equally significant dimensions of the feminist relationship to non-procreation & demographic change. A brief historical narrative relates feminism to fertility decline, non-procreative gender, lateral relations & childcare, the concept of gender, women & work, & sisterhood. The historical demographic transition indicates a social change that values care over procreation. Recognition of the new value offers feminism a view of the future that faced by both women & men. References. J. Harwell

Productive Digression is a translation of the ancient term poetics: as a practice of theory. The products produced in the mode of poiesis are 'digressive' in that they operate off track; they resist the main stream of every day prose. They do so for various reasons and in various respects. Mostly, they are explained historically, relative to historical contexts and, that is, contrary to what they are meant to resist. Instead, this book investigates the modes of resistance, their epistemology of production, in short, the logic of digression. The method addresses the singular exemplarity of art and literature; it elucidates the impact of poiesis as an epistemological challenge and redefines the analysis of literature and art as branches of an Historical Epistemology. Proceeding from the state of affairs in 20th century criticism and aesthetics (Benjamin, Adorno, Blumenberg, Merleau-Ponty), the epistemology of representation (Whitehead, Canguilhem, Bachelard, Rheinberger) is revised in, and with respect to critical consequences (Derrida, Marin, de Man, Agamben). From literary criticism and critical legal studies to the scenario of the life sciences, the essays collected here redirect the logic of research towards the epistemological grounds of an aesthetics underneath the hermeneutics of every day life.

Cover -- Halftitle page -- Series page -- Title page -- Copyright page -- Contents -- Illustrations -- Acknowledgements -- Notes on Contributors -- Introduction: How to Make the Body -- "What Is the Matter with these Germans?" -- What Is "The Body"? -- Chapter Overview -- 1 Arousal, the Bible, and Bruegel's Codpieces: The Male Body in Early Modern Visual Culture -- Arousal in German Print -- Similar Interests in the Male Body -- Bruegel's Codpieces -- 2 The Construction of the Aryan Body in German Visual Advertising, 1908-33 -- 3 Group Zero: Transforming Trauma into Transcendence -- 4 RAF Corpse Art: The Resistant and Recuperative Body: Aesthetics of Diffusion and the Rote Armee Fraktion (RAF)/Red Army Faction -- Perpetrators and Victims: On the Functionalization of Iconic Corpses -- Inconceivable Corpses: Ernst Volland's Burnt Images and Gerhard Richter's October 18, 1977 -- Return of the Dead: Hans-Peter Feldmann's Tomb -- Vanishing Corpses: Where are they Now? -- 5 Penis-bodied Specimens in Körperwelten (Body Worlds) -- 6 For the Porn Connoisseur: Cinema Joy -- Porn and Feminism -- Cinema Joy: "If you can dream it, you can do it."-Walt Disney (quoted in Female Fantasies) -- "She Calls the Shots": Let's celebrate female orgasms! -- Cruising: "No wimpy, limpy gimps." -- Porn as Therapy -- 7 Orientalized Bodies at Work: Cultural Zaniness in Berlin's Sayonara Tokyo Revue -- 8 Ai Weiwei's Body in Berlin -- The Chinese Avant-garde -- Ai Weiwei in Berlin -- The Aesthetic Affect -- Conclusion -- 9 Afrolocken: Natural Hair in German Literature and Media -- 10 Poppthority: The Politics of Dr. Bitch Ray's Bodily Negotiations -- 11 Becoming Invisible/Against Visibility: Hito Steyerl's How Not to Be Seen: A Fucking Educational .MOV File -- Those Who Watch: A Surveillance Society -- Lesson I: "How to Make Something Invisible for a Camera".

Cognitive Disability Aesthetics explores the invisibility of cognitive disability in theoretical, historical, social, and cultural contexts. Benjamin Fraser's cutting edge research and analysis signals a second-wave in disability studies that prioritizes cognition. Fraser expands upon previous research into physical disability representations and focuses on those disabilities that tend to be least visible in society (autism, Down syndrome, Alzheimer's disease, schizophrenia). Moving beyond established literary approaches analyzing prose representations of disability, the book explores how iconic and indexical modes of signification operate in visual texts. Taking on cognitive disability representations in a range of visual media (painting, cinema, and graphic novels), Fraser showcases the value of returning to impairment discourse. Cognitive Disability Aesthetics successfully reconfigures disability studies in the humanities and exposes the chasm that exists between Anglophone disability studies and disability studies in the Hispanic world.

So Dear Old Brum has gone bust. At which point there are those crying out that the assets must not be sold: "As the process of balancing the council's books begins, local communities are rightly concerned about the fate of publicly owned historic places and buildings and arts and culture venues," the letter states. "Birmingham's financial reconstruction must not come at the cost of its priceless heritage."The letter lists sites including the Birmingham Museum and Art Gallery, Aston Hall, Moseley Road Baths, Symphony Hall and Cannon Hill Park as "precious, publicly owned places" that should be saved.Neil Mendoza, the chair of Historic England, said: "Cultural and heritage assets are incredibly precious and important parts of communities. They're not things to be bought and sold."This is a serious situation, and heritage and community considerations need to be taken into account as well as the obvious legal ones. People in Birmingham are really upset at the idea these things might even be considered as assets to be sold."They are assets and it should be considered, that sale of them. It's entirely possible that the sale doesn't make sense, just as it is possible it does. But the point we want to emphasise, insist upon, is that selling an asset does not mean destroying that asset. That, say, Moseley Road Baths is privately, not council, owned does not make Moseley Road Baths disappear. It just changes who owns the place. This is, to us, part of a larger mistake more generally made. We often hear of demands to "save an iconic company" when what is meant is to save the particular and current legal form of it. The underlying economic asserts do not cease to exist if a particular legal wrapper goes bust. What changes in bankruptcy is who owns those assets, not the existence of the assets themselves. That is, don't get hung up on the legal or form of ownership. The things themselves, sure, they might well be worth saving. Or not, as the case might be. But the form of ownership, or even who owns, isn't the thing that must necessarily be preserved. That's to reify the current legal arrangement which is an absurdity. Even if we do want to save the thing itself it's the thing that is to be considered, not the who or how.

Drawing on Roy and Ong's work on worlding, this article introduces the concept of orders of difference to analyze the selective incorporation of the nation-state into supranational political and economic systems. I argue that attending to orders of difference is necessary to better understand the ways that imagined equality is mobilized to reproduce global injustice. I do so through a combined examination of the liberal globalism of the iconic "It's a Small World" ride at Disney theme parks and Iceland's role in the Icesave dispute—a key struggle of the 2007–8 financial crisis. The design of the Small World 1 ride effects a form of worlding by ordering differences into those that are similar enough to be permitted and those that are too different to be incorporated. In the process, the ride invokes a small world 2 that precisely encapsulates the more complex globalisms that inform the organizational structure of supranational bodies like the European Union and European Economic Area. Global finance is said to be one of the world's most seamless supranational systems, but one of its many seams was made visible during the Icesave dispute as two orders of difference came into conflict: European Economic Area membership and Icelandic politics. Representatives of the Netherlands and the UK argued that Iceland's membership in the European Economic Area meant that Iceland was fully the same as other member nations, while those from Iceland successfully argued that its domestic and international economies were irreducibly different. The dispute thus hinged upon a debate over how differences are ordered within and between nations, including the number of permissible orders and the precise extent to which member nations are or should be made commensurable through supranational geopolitics.

Drawing on Roy and Ong's work on worlding, this article introduces the concept of orders of difference to analyze the selective incorporation of the nation-state into supranational political and economic systems. I argue that attending to orders of difference is necessary to better understand the ways that imagined equality is mobilized to reproduce global injustice. I do so through a combined examination of the liberal globalism of the iconic "It's a Small World" ride at Disney theme parks and Iceland's role in the Icesave dispute—a key struggle of the 2007–8 financial crisis. The design of the Small World 1 ride effects a form of worlding by ordering differences into those that are similar enough to be permitted and those that are too different to be incorporated. In the process, the ride invokes a small world 2 that precisely encapsulates the more complex globalisms that inform the organizational structure of supranational bodies like the European Union and European Economic Area. Global finance is said to be one of the world's most seamless supranational systems, but one of its many seams was made visible during the Icesave dispute as two orders of difference came into conflict: European Economic Area membership and Icelandic politics. Representatives of the Netherlands and the UK argued that Iceland's membership in the European Economic Area meant that Iceland was fully the same as other member nations, while those from Iceland successfully argued that its domestic and international economies were irreducibly different. The dispute thus hinged upon a debate over how differences are ordered within and between nations, including the number of permissible orders and the precise extent to which member nations are or should be made commensurable through supranational geopolitics.

Drawing on Roy and Ong's work on worlding, this article introduces the concept of orders of difference to analyze the selective incorporation of the nation-state into supranational political and economic systems. I argue that attending to orders of difference is necessary to better understand the ways that imagined equality is mobilized to reproduce global injustice. I do so through a combined examination of the liberal globalism of the iconic "It's a Small World" ride at Disney theme parks and Iceland's role in the Icesave dispute—a key struggle of the 2007–8 financial crisis. The design of the Small World1 ride effects a form of worlding by ordering differences into those that are similar enough to be permitted and those that are too different to be incorporated. In the process, the ride invokes a small world2 that precisely encapsulates the more complex globalisms that inform the organizational structure of supranational bodies like the European Union and European Economic Area. Global finance is said to be one of the world's most seamless supranational systems, but one of its many seams was made visible during the Icesave dispute as two orders of difference came into conflict: European Economic Area membership and Icelandic politics. Representatives of the Netherlands and the UK argued that Iceland's membership in the European Economic Area meant that Iceland was fully the same as other member nations, while those from Iceland successfully argued that its domestic and international economies were irreducibly different. The dispute thus hinged upon a debate over how differences are ordered within and between nations, including the number of permissible orders and the precise extent to which member nations are or should be made commensurable through supranational geopolitics.

This paper examines the mid-eighteenth century historical memoir of Mohammad Ali Hazin Lāhiji and the auto-biographical travel narrative of 'Abd al-Karim Kashmiri as a way to understand a shared tradition of cultural conceptions and textual borrowing, even in the midst of different attributions of historical meaning and valuations within that culture. Hazin often serves as an iconic figure, representative of the changing relationship between Iran and Hindustan in the eighteenth century. Reading Hazin's memoir in relation to Kashmiri's travels with Nadir Shah's army from Delhi to Iran on his way to hajj problematizes this dominant reading. Underneath diverging and sometimes conflicting claims in these texts, history is represented in a way that evinces similar ideas of home, country, and ideal political rule in the context of travel and exile.

Cover -- Title -- Copyright -- Contents -- List of figures -- Contributors -- Introduction: the emblematic cube -- 1 The Gordian knot of emblemata: from the Labyrinthus absconditus to the affirmation of the Prisca Jurisprudentia -- 2 The evidence of things not seen -- 3 Metamorphosis, mythography and the nature of English law -- 4 Confessio infirmitatis, or, a productive digression: iconic difference taken apart and put to good use in legal affairs -- 5 The heart and the law in the scales: allegorical discourse and modes of subjectivation in early modern religious emblematics -- 6 From pornography to moral didactism: how the French play with emblems -- 7 The tongue and the eye: eloquence and office in renaissance emblems -- 8 Don't screw with the law: visual and spatial defences against judicial and political corruption in communal Italy -- 9 Epistemological doubt and visual puzzles of sight, knowledge and judgment: reflections on clear-sighted and blindfolded Justices -- 10 Crime shows: CSI in Hapsburg Spain -- Bibliography -- Index.