Abstract: This article studies one aspect of the Cuban republican tradition, exploring how republican ideas were appropriated and recreated in the context of the War of Independence and through which symbols Cuban actors elaborated their own ideas regarding this political current. It concentrates on an analysis of iconography, a body of sources that has been little studied in the Cuban historiography. It identifies ambiguities and tensions that influenced the independence process, suggesting how ideas regarding independence and the republic were produced “from below” in Cuba. This article thus contributes to restoring the place of republicanism as a central tradition of Cuban political history, not as an echo of projects from abroad, but as the result of grassroots political production.

Resumen: Este texto estudia un aspecto de la tradición republicana cubana. Investiga cómo las ideas republicanas fueron apropiadas y recreadas en el contexto de la guerra de Independencia, y con qué símbolos los actores cubanos elaboraron sus propias ideas sobre esta corriente política. El artículo se concentra en el análisis de iconografía, un cuerpo de fuentes poco atendido en la historiografía cubana. Identifica ambigüedades y tensiones que influyeron en el proceso independentista para sugerir cómo se produjeron nociones republicanas “desde abajo” en Cuba torno a la independencia y la República. Con ello, el trabajo contribuye a restituir el republicanismo como una tradición central en la historia política cubana, no como un eco de proyectos de otras geografías, sino como resultado de la producción política popular.

Resumen La comunidad científica internacional no tiene dudas hoy en asumir que las inscripciones son un medio de comunicación con intención de notoriedad, universalidad - dentro del grupo social que les da origen- y mayor o menor grado de perdurabilidad. De ahí que haya sido el mecanismo utilizado, entre otros, por artistas y escultores para acompañar a sus programas iconográficos con la intención de completarlos y ofrecer mayor profundidad comunicativa que la que se puede lograr únicamente con la imagen. Este es sin duda el objetivo perseguido por el artista (o los artistas) que realizaron los retablos de la Duda y la Pasión para la capilla funeraria de los Caparroso de la Catedral de Pamplona. Este mecanismo - texto+imagen -, no representa novedad alguna pero sí lo es la utilización de distintos tipos gráficos dentro de un mismo conjunto epigráfico. Este fenómeno es propio y casi exclusivo de la epigrafía de transición entre el ocaso medieval y los albores de la modernidad. Es por ello que nuestro estudio se centra en el análisis paleográfico de estos retablos tratando de arrojar luz sobre algunas incógnitas que aún permanecen sin resolver.

Abstract The international scientific community has no doubts today in assuming that the inscriptions are a means of communication with the intention of notoriety, universality -within the social group that gives rise to them- and a greater or lesser degree of durability. Hence, it has been the mechanism used, among others, by artists and sculptors to accompany their iconographic programs with the intention of completing them and offering greater communicative depth than that which can be achieved solely with images. This is undoubtedly the objective pursued by the artist (or artists) who created the altarpieces of Doubt and Passion for the Caparroso funeral chapel in Pamplona Cathedral. This mechanism - text+image -, does not represent any novelty, but the use of different graphic types within the same epigraphic group does. This phenomenon is characteristic of and almost exclusive to the epigraphy of the transition between the medieval decline and the dawn of modernity. That is why our study focuses on the paleographic analysis of these altarpieces trying to shed light on some unknowns that still remain unresolved.

Resumo Conhecidas pela sua prolixidade e heterodoxia, as margens da arte medieval oferecem-nos, também em Portugal, um vastíssimo elenco de figuras, temas e estratégias de representação que importa interrogar e conhecer. Criadas para preencher vazios, para dinamizar superfícies e relações espaciais, para comentar e ampliar os efeitos previstos para o centro, foram também investidas de funções lúdicas, profiláticas e apotropaicas, tão importantes na cultura medieval mas ainda tão pouco estudadas (e tão difíceis de estudar) entre nós. Entre os diversos protagonistas destas margens da arte medieval, destaca-se, sobretudo a partir do final do século XIII, a figura do macaco, símile e extensão satírica e moralizadora do comportamento humano e, portanto, actor principal de um mundo às avessas que encontra nas margens o seu lugar natural. Atestando a naturalidade desta mesma relação, a primeira designação medieval para uma boa parte da figuração que hoje designamos por marginalia provém do termo babuíno, convocando a generalidade das espécies e comportamentos símios então conhecidos. Partindo desta afinidade, procuraremos identificar e, sempre que possível, interpretar algumas das mais significativas representações de macacos nos marginalia medievais em Portugal ao longo do século XIV, das quais se destacam dois estudos de caso inéditos.

Abstract Commonly known for their prolix and heterodox nature, the margins of medieval art present us with a vast array of figures, themes, and representational strategies that deserve to be questioned and learned about. Created to fill voids, to dynamise surfaces and spatial relations, to comment on and amplify the effects anticipated for the centre, they were also invested with playful, prophylactic, and apotropaic functions, so important in medieval culture but still so little studied (and so difficult to study) in Portugal. Among the various protagonists of these margins of medieval art, and particularly from the 13th century on, apes stand out as a satirical and moralising simile of mankind, and, therefore, as the main actors of a topsy-turvy world that finds their natural place in the margins. Attesting to this close relationship, the first known medieval designation for what we now call marginalia, comes from the term babewyn, or baboon, summoning the generality of the simian species and behaviours then known. Based on this affinity, we will seek to identify and, whenever possible, interpret some of the most significant representations of monkeys in medieval marginalia in Portugal during the 14th century, of which two unpublished case studies stand out.

RESUMEN La ornamentación arquitectónica de las iglesias del pueblo de Juli en Chucuito (siglos XVII y XVIII), que incluye elementos naturales locales, contó con la comitencia de la orden de la Compañía de Jesús, cuyas concepciones doctrinales se vincularon con el probabilismo. Dicha doctrina consiste en una filosofía moral que incidió en los principios de flexibilidad para la introducción del cristianismo y donde la naturaleza jugó un rol articulador clave. El presente artículo analiza los principios probabilistas junto con el interés de la orden en el mundo natural y su implicancia en el mundo andino. Se considera que la presencia de elementos naturales en portadas de acceso a espacios religiosos cristianos, en un contexto donde la naturaleza poseía un estatuto ontológico común a los seres humanos, necesitó de un margen de flexibilidad que concuerda con las concepciones doctrinales jesuíticas.

ABSTRACT The architectural ornamentation of the churches of the Juli´s town in Chucuito (17th and 18th centuries), which includes local natural elements, was commissioned by the order of the Company of Jesus, whose doctrinal conceptions were linked to probabilism, a moral philosophy that influenced the principles of flexibility for the introduction of Christianity and where nature played a key articulating role. We will analyze probabilistic principles along with the order’s interest in the natural world and its implication in the Andean world. We consider that the presence of natural elements on access portals to Christian religious spaces, in a context where nature had an ontological status common to human beings, required a margin of flexibility that agrees with Jesuit doctrinal conceptions.

Abstract The political, cultural and economic features that characterize the society of the 21st century have allowed the emergence of the so-called digital society, characterized by the dominant use of information and communication technologies for the development of activities such as research, communication, sharing knowledge and information, producing, among others. In this framework, the objective of this work is to design and program an immersive augmented reality application that allows the visualization of 3D iconography to inform about the life risk to which the occupants of the case study building are exposed. To do this, we will work with a quasi-experimental methodology that combines design, programming and verification procedures through trial and error. Concluding that it is possible to integrate seismic risk iconography for visualization in the augmented reality application.

Resumen Los rasgos políticos, culturales y económicos que caracterizan a la sociedad del siglo XXI, han permitido el surgimiento de la llamada sociedad digital la cual se caracteriza por el uso dominante de las tecnologías de la información y comunicación para el desarrollo de actividades tales como investigación, comunicación, compartir conocimiento e información, producir, entre otros. En este marco, el presente trabajo tiene por objetivo diseñar y programar una aplicación de tecnología inmersiva de realidad aumentada que permita la visualización de iconografía en 3D para informar sobre el riesgo de vida a los que están expuestos los ocupantes del edificio caso de estudio. Para ello se trabajará con una metodología cuasi-experimental que combina procedimientos de diseño, programación y verificación a través de prueba y error. Concluyendo que es posible integrar la iconografía sobre riesgo sísmico edilicio para su visualización en la aplicación de realidad aumentada.

Abstract What kind of gestures were used in ancient comedy? Iconography gives us an idea of the body and costume of the comic actor. But beyond the fixity of images, how were gestures successively performed on stage? To answer this question, we need to consider the material context in which the plays were produced: the costumes, the masks, the rectangular orchestra, and the large audience. We must remember that gesture is above all a medium adapted to the space and to technical needs. In this article, I'd like to check whether the method I've applied so far to analyze kinesics in tragedy also works in the case of comedy. I study a scene from Aristophanes' Acharnians characterized by intense moves. I show that different types of gestures can be identified in the text: praxis gestures, modal gestures, mimetic gestures, and iconic gestures. Taken together, they allow us to better understand what the Athenian spectators had "in front of their eyes".

Résumé Comment nous représenter le type de gestualité mise en œuvre par la comédie ancienne ? L’iconographie nous offre une idée du corps et du costume de l’acteur comique. Mais la fixité des images (sans parler de leur origine et de leur datation différente) laisse en suspens la question de la réalisation scénique des gestes, et de leur succession. Pour répondre à cette question, il importe de prendre en compte le contexte matériel dans lequel étaient produites les pièces : les costumes, les masques, mais aussi le gradin élevé, l’orchêstra rectangulaire, le public nombreux. Il faut, pour reconstituer la gestualité antique, se rappeler qu’elle est avant tout un medium adapté à cet espace et répondant, par-delà les codes esthétiques, à des besoins techniques particuliers. Dans cet article, je souhaite observer si la méthode que j’ai appliquée jusqu’ici à la gestualité tragique fonctionne également dans le cas de la comédie. J’étudie une scène des Acharniens d’Aristophane caractérisée par son intense gestualité. Je montre qu’on peut identifier dans le texte différents types de gestes : gestes praxiques, modalisateurs, mimétiques, iconiques. Mis bout à bout, ils permettent de comprendre un peu mieux ce que le public athénien avait "devant les yeux".

Abstract In book 5 of his novel, Achilles Tatius describes at length a painting that represents the myth of Procne, Philomela and Tereus. A connection with Sophocles’ Tereus, the most influential treatment of the myth in the antiquity, has been proposed by many scholars. In this contribution I provide a re-discussion of the whole passage, with a view to establishing its dependence on the Sophoclean drama. My analysis focuses on two points. 1) Achilles’ ekphrasis offers a vivid depiction of the revelation scene: with its emphasis on actual action, as if the characters were performing onstage, the phrasing of the passage strongly evokes a theatrical context. 2) By the age of Sophocles the Athenians would have connected the myth of Procne and Philomela not only with images of Itys’ killing and with the anthropophagic banquet (which was popular with vase painters), but also with the scene of the “speaking” peplos, which was depicted in the Parthenon’s marble decoration. This was probably the “defining scene” in the Tereus of Sophocles, a dramatist who was extremely sensitive to iconographic suggestions. Achilles Tatius, who had access to Sophocles’ original text, composed his account of the myth with this scene in mind.

Sommario Nel V libro del suo romanzo, Achille Tazio descrive dettagliatamente un quadro che rappresenta il mito di Procne, Filomela e Tereo. Molti studiosi hanno ipotizzato un possibile rapporto con il Tereo di Sofocle, il dramma che nell’antichità ebbe importanza fondamentale per la conoscenza della vicenda. Il presente contributo ridiscute l’intero problema, focalizzandosi soprattutto su due punti. 1) L’ekphrasis di Achille Tazio dà una rappresentazione molto vivida della scena del riconoscimento: con la sua enfasi sull’azione agita, come se i personaggi fossero impegnati in una performance, il dettato del testo evoca chiaramente un contesto teatrale. 2) Negli anni di Sofocle si può ritenere che gli Ateniesi collegassero il mito di Procne e Filomela non solo con l’immagine dell’uccisione di Iti e del banchetto antropofagico (temi molto praticati dai ceramografi), ma anche con la scena del “peplo parlante”, che era riprodotta nelle metope del Partenone. Questa era probabilmente la “scena madre” del Tereo di Sofocle, un drammaturgo molto sensibile alle suggestioni iconografiche. Achille Tazio, che aveva accesso al testo completo del dramma sofocleo, compose la sua ekphrasis avendo negli occhi questa scena.

Resumo Este estudo efectua uma análise iconográfica específica de imagens relacionadas com a morte em manuscritos iluminados franceses dos séculos XIII a XV. Utilizando métodos de história da arte, incluindo a análise estilística, semiótica e hermenêutica, o estudo tem como objetivo identificar tipologias iconográficas comuns e examinar a forma como os artistas medievais representaram visualmente ideias sobre a mortalidade. A análise de formatos composicionais recorrentes em vários tipos de manuscritos demonstra como a iluminura ajuda a reconstruir as perspectivas medievais sobre o omnipresente mas enigmático fenómeno da morte. Os resultados mostram que, embora certos modelos convencionais sejam recorrentes, os iluminadores adaptaram-nos para aumentar o impacto emocional e a ressonância narrativa. A prevalência de motivos macabros nos manuscritos seculares e religiosos aponta para uma preocupação com a morte, embora a diversidade de abordagens revele atitudes multifacetadas. Enquanto artefactos da cultura visual medieval, estas obras constituem um terreno fértil para a investigação interdisciplinar de uma sociedade enfeitiçada pela morte.

Abstract This study conducts a targeted iconographic analysis of imagery related to death in French illuminated manuscripts from the 13th to 15th centuries. Using art historical methods including stylistic, semiotic and hermeneutic analysis, the study aims to identify common iconographic typologies and examine how medieval artists visually represented ideas about mortality. Analysis of recurrent compositional formats across various manuscript types demonstrates how illumination helps reconstruct medieval perspectives on the ubiquitous yet enigmatic phenomenon of death. Findings show that while certain conventional templates recurred, illuminators adapted these to heighten emotional impact and narrative resonance. The prevalence of macabre motifs across both secular and religious manuscripts points to a preoccupation with death, even as the diversity of approaches reveals multifaceted attitudes. As artifacts of medieval visual culture, these works provide fertile ground for interdisciplinary investigation into a society Spellbound by death.

Abstract The rise of Javier Milei in Argentina occurs in a politically polarized society affected by negative emotions. This paper aims to explore how affect is mobilized and staged on Milei’s social media platforms. Based on fieldwork that collected over a thousand posts from X’s official accounts, Instagram, and TikTok during the presidential campaign (between August and November 2023), an attempt is made to characterize the emotional apparatus deployed by Milei’s accounts on his networks. The mobilization of two emotions is examined: on one hand, resentment (associated with disgust and humiliation) deployed in the interpellations, mentions, and citations on X (formerly Twitter); on the other hand, a series of positive emotions that contribute to identification and the construction of a “we,” mobilized by audiovisual iconography on Instagram.

Resumen El ascenso de Javier Milei en Argentina se produce en una sociedad políticamente polarizada y afectada por emociones negativas. Este trabajo propone explorar el modo en que los afectos se movilizan y se ponen en escena en las redes sociales de Milei. A partir de un trabajo de campo que recogió más de mil publicaciones en las cuentas oficiales de X, Instagram y TikTok durante la campaña presidencial (entre agosto y noviembre de 2023), se intenta caracterizar el dispositivo emocional desplegado por las cuentas de Milei en sus redes. Se examina la movilización de dos emociones: por un lado, el resentimiento (asociado al asco y a la humillación) desplegado en las interpelaciones, menciones y citas en X (exTwitter); por otro, una serie de emociones positivas que contribuyen a la identificación y a la construcción de un “nosotros”, movilizadas por la iconografía audiovisual en Instagram.

Abstract: The accuracy obtained in Art Media Classification (AMC) using CNN is lower compared to other image classification problems, where the acceptable accuracy ranges from 90 to 99%. This article presents an analysis of the performance of three different CNNs with transfer learning for AMC, to answer the question of what challenges arise in this application. We proposed the Art Media Dataset (ArtMD) to train three CNNs. ArtMD contains five classes of art: Drawing, Engraving, Iconography, Painting, and Sculpture. The analysis of the results demonstrates that all the tested CNNs exhibit similar behavior. Drawing, Engraving, and Painting had the highest relationship, showing a strong relationship between Drawing and Engraving. We implemented two more experiments, removing first Drawing and then Engraving. The best performance with 86% accuracy was achieved by removing Drawing. Analysis of the confusion matrix of the three experiments for each CNN confirms that Drawing and Painting have the lowest accuracy, showing a strong misclassification with the other classes. This analysis presents the degree of relationship between the three CNN models and details the challenges of AMC.

Abstract This thesis addresses the graphic transformations expressed in three supports: girdles, tapestries and drums, within a framework of diverse cultural exchanges, as well as social and natural phenomena. The research problem sought to know what was the impact of the interrelation that occurred between the Salasca artisans with artists and designers, added to the migratory processes in which these settlers participated? And in what way, these factors determined formal, figurative and symbolic transformations of the visual representations present in their cultural objects between the years 1960 and 2018. In this process, the hypothesis was corroborated that indicated that the changes in these graphic representations were due to the interaction with other visual cultures that allowed a process of aesthetic transculturation and the recomposition of the relational criteria expressed in the three elements which were our main units of analysis. The vast graphic compilation made on the fabrics and paintings of the Salasaca people allowed us to know that the transformations were not only morphological, but also that, in some cases, the symbolic core of the representations varied depending on the new contexts.

Resumen Esta tesis aborda las transformaciones gráficas expresadas en tres soportes: fajas, tapices y tambores, dentro de un marco de diversos intercambios culturales, así como también, fenómenos sociales y naturales. El problema de investigación buscaba conocer ¿cuál fue el impacto de la interrelación que se diera entre los artesanos salasacas con artistas y diseñadores, sumado a los procesos migratorios en los que participaron estos pobladores? y de qué manera, estos factores determinaron transformaciones formales, figurativas y simbólicas de las representaciones visuales presentes en sus en sus objetos culturales entre los años 1960 y 2018. En este proceso fue corroborada la hipótesis que señalaba que los cambios en estas representaciones gráficas obedecieron a la interacción con otras culturas visuales que permitieron un proceso de transculturación estética y de recomposición de los criterios relacionales expresados en los tres elementos, que fueron nuestras unidades principales de análisis. La vasta recopilación gráfica realizada sobre los tejidos y pinturas del pueblo Salasaca, permitió conocer que las transformaciones no fueron únicamente morfológicas, sino que, además, en algunos casos, el núcleo simbólico de las representaciones varió en función de los nuevos contextos.

Resumo Esta dissertação aborda as transformações gráficas expressas em três suportes: girdles, tapeçarias e tambores, num quadro de diversas trocas culturais, bem como de fenômenos sociais e naturais. O problema de pesquisa buscou saber qual foi o impacto da inter-relação ocorrida entre os artesãos salasca com artistas e designers, somada aos processos migratórios dos quais esses colonos participaram? E de que forma esses fatores determinaram transformações formais, figurativas e simbólicas das representações visuais presentes em seus objetos culturais entre os anos 1960 e 2018. Nesse processo, foi corroborada a hipótese que indicava que as mudanças nessas representações gráficas se deviam à interação com outras culturas visuais que permitiram um processo de transculturação estética e a recomposição dos critérios relacionais expressos nos três elementos, que foram nossas principais unidades de análise. A vasta compilação gráfica feita sobre os tecidos e pinturas do povo salasaca permitiu-nos saber que as transformações não eram apenas morfológicas, mas também que, em alguns casos, o núcleo simbólico das representações variava em função dos novos contextos.

Abstract: This paper studies D. João V’s extraordinary embassy to Rome (1716), led by the Marquis of Fontes, D. Rodrigo Annes de Sá Almeida e Meneses. Based on the political analysis of their iconographic program, the allegoric elements of the delegation’s coaches, currently exhibited in the National Coach Museum, in Portugal, are identified, compared with other visual sources, and connected to contemporary reports and passages of Camoes’ work. A perspective defending the sumptuousness of the Joanine period as a form of exaltation of the power of the Portuguese Crown, and the allegorical messages or meanings subjacent to the sculptural ensemble are also investigated. Abstract D Vs V s 1716, 1716 , (1716) Fontes Meneses program delegations delegation coaches Museum Portugal identified sources Camoes work Crown investigated 171 (1716 17 (171 1 (17 (1 (

Resumo: Este artigo estuda a embaixada extraordinária de D. João V a Roma (1716), liderada pelo marquês de Fontes, D. Rodrigo Annes de Sá Almeida e Meneses. A partir da análise política do programa iconográfico de coches da comitiva, atualmente no Museu Nacional dos Coches, em Portugal, os elementos alegóricos são identificados, comparados a outras fontes visuais e relacionados a relatos coetâneos e a passagens da obra camoniana. Além da perspectiva que defende a suntuosidade do período joanino como forma de exaltação do poder da Coroa portuguesa, investiga-se quais outros significados ou mensagens alegóricas estão subjacentes ao conjunto escultórico. Resumo D 1716, 1716 , (1716) Fontes Meneses comitiva Coches Portugal identificados camoniana portuguesa investigase investiga se escultórico 171 (1716 17 (171 1 (17 (1 (

ABSTRACT: This article presents a relevant topic in the trajectory of Giambattista Piranesi: the proposition of the “Egyptian style” in the publication Diverse maniere d’adornare i cammini ( 1769 ), which reveals some relevant aspects of the Piranesian critical fortune for architectural debates in the 18th century. Firstly, one can gauge Giambattista’s perception of the iconographic and compositional potential of Ancient Egypt by references found in Rome and through the field of decoration, in composing fireplaces — an element of “small architecture.” Its merit lies in presenting a new assessment on the applicability of Egyptian iconography. Additionally, Piranesi attempted to show a way of conceiving the art of building based on variations learned from the lexicon of the Ancients, expressing the craftsman’s ingenuity. This article concludes that by proposing the composition of fireplaces in the “Egyptian style,” Piranesi tested his assumptions about the craftsman’s ability to distribute ornamentation according to the architecture. He thus intended to legitimize, on a theoretical and practical level, a reconciliation between the ancient precepts and the demands of the inventive procedure. Diverse maniere has established itself as a crucial work for understanding Piranesi’s artistic trajectory, consolidating arguments about inventive license based on the repertoire of Antiquity. ABSTRACT style dadornare d adornare 176 , ) th century Firstly Giambattistas s decoration small architecture iconography Additionally Ancients craftsmans craftsman ingenuity style, legitimize level procedure Piranesis Antiquity 17 1

RESUMO: Este artigo apresenta um tópico relevante na trajetória de Giambattista Piranesi: a proposição do “estilo egípcio” na publicação Diverse maniere d’adornare i cammini ( 1769 ). Com essa obra pode-se vislumbrar alguns aspectos relevantes da fortuna crítica piranesiana para os debates arquitetônicos no século XVIII. Primeiramente, pode-se aferir a percepção de Giambattista sobre o potencial iconográfico e compositivo do Egito Antigo mediante as referências encontradas em Roma e servindo-se do campo da decoração, com a proposta de composições de lareiras — elemento da “pequena arquitetura”. O mérito da obra consiste em apresentar uma nova apreciação sobre a aplicabilidade da iconografia egípcia. Além desse aspecto, com essa publicação, Piranesi intentou demonstrar uma forma de conceber a arte de construir a partir das variações depreendidas do léxico dos antigos, expressando a engenhosidade do artífice. Este artigo conclui que, ao propor as invenções de lareiras no “estilo egípcio”, Piranesi realizou suas premissas sobre a capacidade do artífice para distribuir a ornamentação em conformidade com a arquitetura. Assim, ele pretendia legitimar nos planos teórico e prático uma conciliação entre os preceitos dos antigos e as exigências do procedimento inventivo. Diverse Maniere se consagrou como uma obra crucial para compreender a trajetória piranesiana, consolidando as argumentações sobre a licença inventiva a partir do repertório da Antiguidade. RESUMO estilo egípcio dadornare d adornare 176 . ) podese pode XVIII Primeiramente servindose servindo decoração pequena arquitetura arquitetura” egípcia aspecto que egípcio, , Assim inventivo Antiguidade 17 1

Resumo Os estudos de cultura visual têm inovado as metodologias para abordar as imagens da África à época dos impérios coloniais. A iconografia colonial em diferentes suportes materiais vem sendo fonte visual e objeto de muitas investigações, publicações e exposições, notadamente em países como Alemanha, Bélgica, França, Inglaterra e Portugal. Na história visual do colonialismo, as imagens da África têm sido também objetos de novos estudos, mas ainda são raros aqueles que abordam as imagens da imprensa ilustrada como mercadorias de uma economia visual e como produtos para o olhar inspetor do público leitor. A partir da revista alemã Kolonie und Heimat in Wort und Bild [ Colônia e pátria em palavra e imagem ], órgão da Frauenbund der Deutschen Kolonialgesellschaft [Liga Feminina da Sociedade Colonial Alemã], busca-se demonstrar como as imagens da África integraram uma economia visual à época dos impérios coloniais. A partir da análise do circuito social das imagens, os resultados do estudo proposto indicam o surgimento de uma nova economia visual à época da reprodutibilidade técnica da imagem, a mercantilização de fotografias de paisagens e gentes africanas e uma forma de vigilância ótica através da imprensa ilustrada colonial. coloniais investigações exposições Alemanha Bélgica França Portugal colonialismo leitor , ] Liga Alemã, Alemã Alemã] buscase busca se

Abstract Visual culture studies have innovated the methodologies to approach the images of Africa during the era of colonial empires. The colonial iconography, found in different material supports, has served as a visual source and subject of many investigations, publications, and exhibitions, particularly in countries such as Germany, Belgium, France, England, and Portugal. In the visual history of colonialism, the images of Africa have also been the focus of new studies. However, examinations of images in the illustrated press as commodities within a certain visual economy and as products for the scrutinizing gaze of the reading public are still scarce. Through an analysis of the German magazine Kolonie und Heimat in Wort und Bild [ Colony and Homeland in Word and Image ], which was an organ of the Frauenbund der Deutschen Kolonialgesellschaft [Women’s League of the German Colonial Society], we aim to demonstrate how the images of Africa formed part of a certain visual economy during colonial times. By considering the social circuit of these images, the findings of this study point to the emergence of a new visual economy in the age of mechanical reproduction of images, to the commodification of photographs depicting African landscapes and people, and to a form of visual surveillance through the colonial illustrated press. empires iconography supports investigations publications exhibitions Germany Belgium France England Portugal colonialism However scarce , ] Womens Women s Society, Society Society] times people