The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930)
This research explores the capacity of the identifying graphic writing models, inscriptions or identifying symbols built, as one of the main instruments and means that architects had to penetrate the complex cultural mosaic in Mexico, arranged to identify building facades. from 1914 to 1930; as a vi...
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Universidad Autónoma de Baja California
2021
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| Acceso en línea: | https://recit.uabc.mx/index.php/revista/article/view/122 |
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Lozano Castro, Rebeca Isadora |
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Lozano Castro, Rebeca Isadora The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930) |
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Lozano Castro, Rebeca Isadora |
| author_sort |
Lozano Castro, Rebeca Isadora |
| title |
The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930) |
| title_short |
The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930) |
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The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930) |
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The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930) |
| title_full_unstemmed |
The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930) |
| title_sort |
graphic identifying writing models with socio-visual hegemony in the identification of architecture in tampico (1914-1930) |
| description |
This research explores the capacity of the identifying graphic writing models, inscriptions or identifying symbols built, as one of the main instruments and means that architects had to penetrate the complex cultural mosaic in Mexico, arranged to identify building facades. from 1914 to 1930; as a visual expression of foreign cultural manifestations that became their own and identity in Tampico society. These objects of materialized communication are referents of modern Tampico thought and acted as spokesmen for the political and social ideas of the ruling class (bourgeoisie) interested in the new progressive modernizing current that arrived in the country at the beginning of the 20th century. The writing models were sponsored by certain local power groups that were linked to the cultural, economic, and political passing, and functioned as discursive and graphically representative visual devices; that were, mainly, of foreign origins, diffusers of new codes of inclusion and social exclusion in order to be models of civility. The objective of this research is to review the state of the art of socio-visual hegemony in writing models and its relationship with that culture. In consideration of John B. Thompson (2002) the media potentially transform the culture and daily life of the societies on which they act. The initial method was aimed at identifying the corpus of these (49) objects, their textual and argumentative study with a descriptive and interpretive exploration from the design point of view. For this, authors such as R. Williams (1997), S. Hall (1984) and Verón (2005), were considered, while the methodological perspective to think about the articulation between socio-visual hegemony and graphic representation was the deep hermeneutics proposed by Thompson with analysis sociohistorical discursive. This research with a qualitative-interpretive approach considers that the writing models supported imaginaries of progress, and this non-thematic graphic record allowed to link the cultural and visual dimension with the structural political dimension; to later identify the dialogue between these two dimensions. What was demonstrable through the empirical historiographic analysis carried out in writing models and the clear understanding of the concept of socio-visual hegemony. |
| publisher |
Universidad Autónoma de Baja California |
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2021 |
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https://recit.uabc.mx/index.php/revista/article/view/122 |
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1792095339281383424 |
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recit-article-1222023-03-02T00:55:52Z The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930) Los modelos de escritura gráfico identificativos con hegemonía socio-visual en la identificación de la arquitectura en Tampico (1914-1930) Lozano Castro, Rebeca Isadora Socio-visual hegemony Writing models Social identification Hegemonía sociovisual Modelos de escritura Identificación social This research explores the capacity of the identifying graphic writing models, inscriptions or identifying symbols built, as one of the main instruments and means that architects had to penetrate the complex cultural mosaic in Mexico, arranged to identify building facades. from 1914 to 1930; as a visual expression of foreign cultural manifestations that became their own and identity in Tampico society. These objects of materialized communication are referents of modern Tampico thought and acted as spokesmen for the political and social ideas of the ruling class (bourgeoisie) interested in the new progressive modernizing current that arrived in the country at the beginning of the 20th century. The writing models were sponsored by certain local power groups that were linked to the cultural, economic, and political passing, and functioned as discursive and graphically representative visual devices; that were, mainly, of foreign origins, diffusers of new codes of inclusion and social exclusion in order to be models of civility. The objective of this research is to review the state of the art of socio-visual hegemony in writing models and its relationship with that culture. In consideration of John B. Thompson (2002) the media potentially transform the culture and daily life of the societies on which they act. The initial method was aimed at identifying the corpus of these (49) objects, their textual and argumentative study with a descriptive and interpretive exploration from the design point of view. For this, authors such as R. Williams (1997), S. Hall (1984) and Verón (2005), were considered, while the methodological perspective to think about the articulation between socio-visual hegemony and graphic representation was the deep hermeneutics proposed by Thompson with analysis sociohistorical discursive. This research with a qualitative-interpretive approach considers that the writing models supported imaginaries of progress, and this non-thematic graphic record allowed to link the cultural and visual dimension with the structural political dimension; to later identify the dialogue between these two dimensions. What was demonstrable through the empirical historiographic analysis carried out in writing models and the clear understanding of the concept of socio-visual hegemony. La presente investigación explora la capacidad de los modelos de escritura gráficos identificativos, inscripciones o símbolos identificatorios construidos, como uno de los principales instrumentos y medios con los que contaron los arquitectos para penetrar el complejo mosaico cultural en México, dispuestos para identificación de fachadas en edificios de 1914 a 1930; como expresión visual de manifestaciones culturales extranjeras que se hicieron propias e identitarias en la sociedad tampiqueña. Esos objetos de comunicación materializada son referentes del pensamiento tampiqueño moderno y actuaron como portavoces de las ideas políticas y sociales de la clase dominante (burguesa) interesada en la nueva corriente modernizadora progresista que llegó al país para inicios del siglo XX. Los modelos de escritura fueron auspiciados por ciertos grupos de poder locales que se vincularon con el transcurrir cultural, económico y político, y funcionaron como dispositivos visuales discursivo y representativos gráficamente; que fueron, principalmente, de orígenes extranjeros difusores de nuevos códigos de inclusión y exclusión social con la finalidad de ser modelos de civilidad. El objetivo de esta investigación es hacer una revisión sobre el estado del arte de la hegemonía sociovisual en los modelos de escritura y su relación con esa cultura. En consideración de John B. Thompson (2002) los medios de comunicación transforman potencialmente la cultura y la vida cotidiana de las sociedades sobre las que actúan. El método inicial se orientó en identificar el corpus de esos (49) objetos, su estudio textual y argumental con una exploración descriptiva e interpretativa a partir de la mirada del diseño. Para ello, se consideraron autores como R. Williams (1981), S. Hall (1984) y Verón (2005), mientras que la perspectiva metodológica para pensar la articulación entre hegemonía sociovisual y representación gráfica fue la hermenéutica profunda propuesta por Thompson con análisis discursivo sociohistórico. Esta investigación de enfoque cualitativo-interpretativo considera que los modelos de escritura sostuvieron imaginarios de progreso, y este registro gráfico no tematizado permitió vincular la dimensión cultural y visual con la dimensión política estructural; para luego identificar el diálogo entre esas dos dimensiones. Lo que resultó demostrable a través del análisis empírico historiográfico realizado en modelos de escritura y la comprensión clara del concepto de hegemonía sociovisual. Universidad Autónoma de Baja California 2021-11-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html text/xml https://recit.uabc.mx/index.php/revista/article/view/122 10.37636/recit.v44329352 REVISTA DE CIENCIAS TECNOLÓGICAS; Vol. 4 No. 4 (2021): October-December; 329-352 REVISTA DE CIENCIAS TECNOLÓGICAS; Vol. 4 Núm. 4 (2021): Octubre-Diciembre; 329-352 2594-1925 spa https://recit.uabc.mx/index.php/revista/article/view/122/261 https://recit.uabc.mx/index.php/revista/article/view/122/262 https://recit.uabc.mx/index.php/revista/article/view/122/263 Copyright (c) 2021 Rebeca Isadora Lozano Castro https://creativecommons.org/licenses/by/4.0 |
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