References of "Dondero, Maria Giulia"
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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 ULiege; Angenot, Valérie ULiege; Joachim, Guillaume ULiege 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 ULiege

in Visible (2013), 10

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

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 ULiege; 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 ULiege

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 ULiege

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 ULiege

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 ULiege

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

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See detailPicturing Transcendance
Dondero, Maria Giulia ULiege

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 ULiege

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

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See detailEntretien avec Pierre Boudon
Dondero, Maria Giulia ULiege; Ben Rajeb, Samia ULiege

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

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

in Visible (2012), 9

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

in Visible (2012), 9

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

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 ULiege

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 ULiege

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 detailLe diagramme entre perception visuelle et mathématique
Dondero, Maria Giulia ULiege

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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