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2015, Advances in marketing, customer relationship management, and e-services book series
Transformação, Revista de Filosofia da Unesp, 2024
İnönü Üniversitesi Sanat ve Tasarım Dergisi
Along with the technological developments and the techniques on the photographic image, the use of photography in the context of the art finds its own place today. Similar to that the innovations in our age are changing the technique of art, the use of photograph as a production material for many works of art has caused the work to change structurally. This enables the recreation of the works that exist through photography. The photograph, which uses a unique visual language, is a documentary in which the artists from all around the world interpret the objects they subjectively frame in philosophical, political , aesthetic and personal ways besides depicting the world. Considering with the work of art in our age that the photograph can be reproduced with the technical abilities, we can see different works. Sandro Miller, making portraits of John Malkovich by bringing an alternative interpretation to the iconic and memorable photographs, cause the art object to change its' aura and uniqueness by taking the photographs out of their contexts. Concordantly, Miller's photographs of John Malkovich series can be considered as imitation and repercussion artwork within the context of intersemiotic illustrations. The concept of aura that Walter Benjamin* refers to for the original work will also be mentioned. This work concentrates on the reproduction and re-duplication of artworks through the Malkovich portraits of Sandro Miller.
Psychology and Behavioral Sciences, 2015
Azogue, 2023
English: I'm going to analyze a treatise from the pseudo Lullian corpus entitled Liber de secretis naturae seu de quinta essentia (=DSN). According to the research carried out so far, it would have been made around the second half of the 14th century. It is the first with a clear pseudo-epigraphic intention, since in several parts the author introduces himself as Ramón Llull, it is located in emblematic places of his biography such as the Vauvert Abbey, near Paris, and several of his works are cited as his own. The current hypothesis considered valid proposes that the forger would have used two main sources. One is the treatise De consideratione quintae essentiae rerum omnium (=DCQ) by Johannes de Rupescissa, dated after 1348, of which he would make a partial plagiarism. The other would be the textual core of the magister Testamenti, an anonymous alchemist of Lullian influence, who originally wrote around 1330-1340 and with whom he would have been connected through quotations. The final result would be a work made up of five large sections (A+B+C+D+E). Here I am going to do an expanded thesis. Magister Testamenti himself would be the author of several versions or primitive strata of the DSN dated from 1330-1332. We are going to rebuild two of them. The first with the structure: B1 + CI.a-b + CII + CIII and the second B1 + CI.a-b + CII + CIII + CIV.a-b + CV. A copy of the latter is preserved in the manuscript BNF, Lat. 7177, without any pseudo-Lullian element and perfectly integrable in the textual corpus of the magister Testamenti. Rupescissa would have used this second version to compose his DCQ. The same magister Testamenti would have composed a later third stratum, with several recensions and under the general structure B + C + D1/D2 + Q1/Q2. Its implementation of Lullian logic is more evolved and presents greater complexity. A group of Catalan pseudepigraphers would have manipulated this version to attribute it to Llull in the second half of the 14th century. Thus arises what I have called the textus receptus of the DSN, with the already mentioned form of A+B+C+D+E and which subsequent tradition has considered as the prototypical model. It is the majority in later manuscripts and has been studied as if it had been the base text, without previous versions. Our reconstruction of the textual tradition for the DSN fits with the model established by Michela Pereira for the history of alchemical pseudolulism, as well as her critical edition of the Testamentum. Spanish: Vamos a analizar un tratado del corpus pseudo luliano titulado Liber de secretis naturae seu de quinta essentia (=DSN). Según las investigaciones realizadas hasta ahora, habría sido elaborado en torno a la segunda mitad del siglo XIV. Es el primero con una clara intención pseudoepigráfica, ya que en varias partes el autor se presenta como Ramón Llull, se sitúa en lugares emblemáticos de su biografía como la abadía de Vauvert, próxima a París, y se citan como propias varias de sus obras. La hipótesis actual tenida como válida propone que el falsificador habría empleado dos fuentes principales. Una es el tratado De consideratione quintae essentiae rerum omnium (=DCQ) de Johannes de Rupescissa, fechado con posterioridad a 1348, del que haría un plagio parcial. La otra sería el núcleo textual del magister Testamenti, un alquimista anónimo de influencia luliana, que escribió originalmente en torno a 1330-1340 y con el que se habría conectado por medio de citas. El resultado final sería una obra formada por cinco grandes secciones (A+B+C+D+E). Aquí voy a hacer una tesis ampliada. El propio magister Testamenti sería el autor de varias versiones o estratos primitivos del DSN desde 1330-1332. Vamos a reconstruir dos de ellos. El primero con la forma: B1 + CI.a-b + CII + CIII y el segundo B1 + CI.a-b + CII + CIII + CIV.a-b + CV. De este último se conserva una copia en el manuscrito BNF, Lat. 7177, sin ningún elemento pseudoluliano y perfectamente integrable en el corpus textual del magister Testamenti. Rupescissa lo habría utilizado este segundo estrato para componer su DCQ. El mismo magister Testamenti habría compuesto un tercer estrato más tardío, con varias recensiones y bajo la estructura general B + C + D1/D2 + Q1/Q2. Su implementación de la lógica luliana está más evolucionada y presenta mayor complejidad. Un grupo de pseudoepigrafistas catalanes habría manipulado esta versión para atribuirsela a Llull en la segunda mitad del siglo XIV. Así surge lo que hemos llamado el textus receptus del DSN, con la forma ya mencionada de A+B+C+D+E y que la tradición posterior ha considerado como el modelo prototípico. Es el mayoritario en los manuscritos posteriores y se ha estudiado como si hubiese sido el texto base, sin versiones anteriores. Nuestra reconstrucción de la tradición textual para el DSN encaja con el modelo establecido por Michela Pereira la historia del pseudolulismo alquímico, así como su edición crítica del Testamentum.
National journal of health sciences, 2024
Estudios Geológicos, 2024
Folia onomastica Croatica, 2011
RACAR : Revue d'art canadienne, 2024
PloS one, 2016
Journal of Cardiovascular Magnetic Resonance, 2011
International Journal of Computer Mathematics, 2011