In this paper I propose to analyze the style of Nicolas Sarkozy, especially the media management of his body. While images of Sarkozy are released continuously in the media, these images show a very pragmatic strategy but also reveal a complex personal management of his body. According to the theoretical traditions based on the political anthropology, as far as the post-Barthes semiology, this paper analyzes semio-anthropological representations of Sarkozy's body from a large corpus of all images in formal context to more broad images presented in public, which fills media space, including the immediately available Internet. The body is an important ‘tool' for symbolic strategies of political leaders so that politics is embodied beyond the realm of ideas, where there is also the presentation of a physical style and presence. The systematic semiotic analysis of the political body is an exciting interdisciplinary field of study from both a theoretical point of view and the public perspective.

Especially through the advertising, cinema and television, the cultural industry from the United States imposes an ideal of perfect beauty in the collective imaginary, which threatens to the mankind with the destruction of the self. This work tries to explain how the TV establishes canons of beauty by means of series like Nip/Tuck, where the technology of the beauty as a main tool of the cult for the physical reconstruction of people is presented, promoting therefore the referred destruction that it can be seen in the case of world-famous artists like the singing Michael Jackson. The anthroposemiotic perspective and the hypothetical-deductive method were used for the analysis. The results reveal the resurgence of Narcissus myth, but re-named as a hypervisible neo-narcissism. General conclusion shows that the speech of Nip/Tuck uses some rhetorical strategies to manipulate ideologically to the viewer and to impose him an hegemonic concept of ‘beauty' like an escopic regime, where those recreated bodies with that technology are ‘naturalized' and, thus, seen as something very ‘normal' in the current world.

The text is a semiotic analysis of the act of bearing witness in a classic documentary on the Holocaust, Shoah (Lanzmann, 1985). What is the importance of the body, of the signs which are closest to it, namely, indexical signs, according to Peirce's semiotic taxonomy for this kind of discourse? This perspective allows the author to approach a phenomenon that is described here as the act of “embodied witnessing”, a testimony in which the body plays as decisive a role as the words (symbols). In the two episodes of Shoah which are studied closely, the testimony of the witnesses is framed overtly or secretly in an iconic setting. The witness's speech is set in a staging in which images play a key role; they mirror a past situation. Such a semiotic strategy is called here ‘indexical mimesis.' This cinematographic technique functions as a catalyst for the revelation of the truth, through the emergence of indexical signs which otherwise would not be likely to manifest themselves in that cinematic context.

This article analyzes the historical variations of both pre-theoretical and theoretical thoughts of “incompleteness” and demonstrates the consequences that have led man to the state of incompleteness. In the new era, especially in the 20th century when it when it so happened that mankind reached a point where it is impossible to produce fullness incompleteness began to be expressed in social practices with a greater sense of ambivalence ever known since the Middle Ages. The science and art in the 20th century is unthinkable without division and re-construction of the human body in psychoanalysis, which reveals that man is the place for body and soul. Physical incompleteness, as reconstructing material in art and literature, is widely used as an aesthetic means of contemporary art. In the second half of the 20th century following the disappearance of contemporary art, the human body was absent, which was proved over a matter of time.

Peruvian painter Tilsa Tsuchiya (1929-1984), was consistently developing an organic painting style and while many contemporary Peruvian artists followed an abstract art-form, Tsuchiya did not fit into that trend. Although some art critics speak of surrealism in reference to her paintings, while others have been tempted to find a more native inspiration, Tsuchiya refused to be framed within one form or the other. Being convinced of the long process of finding a language within painting, she tried to follow her own path which was influenced by Eastern philosophies by producing a more metaphysical painting, in which one can observe a mystical spirit. However, it is neither Orientalism nor the possible foreign influences over locals in the painting. Rather, it is the representation of the body and eroticism, which is what was of primary interest. By plastic semiotics and semiotics of the body, this paper tries to answer such questions as how the physical dimension in the visual object works and what the links exist between eroticism and the mythical mean.

Organ donation is a complex semiotic space, controversial and contractual, a semiotic space of emotions and passions. Visual campaigns and graphic design are embedded in production networks of meaning and symbolic resistance. The relationship between image and sense of individual body and the social body is still today a complex and contradictory. These processes can reinterpret through the gift exchange and a generative view in which this social act is considered as a process of mutual transfer of value.

Media representation of the body is divided between two opposing views: 1) the glorious body of advertising and in part of political discourse and, on the other hand, 2) the body abused by being overburdened with information, as in the body as is now experiencing of the limits of postmodern cinema. These representations show a body that is no longer in a defined place, which has no specific assigned place, and constantly oscillates between deficiency and excess. The body moves from one extreme to the other, most likely because the identities are neither stable nor secure within a given place. This paper analyzes to what extent the body functions there as a sign, with a certain autonomy, or refers to the identity previously known of, is the signifier of discomfort, or of an expression of emptiness. These questions are central to such discussion as the body appears as a place of resistance, a body in motion, leaving the norm may be obscene－offstage－breaking down barriers between public and private, between inside and outside, and leads to an ambivalent exaltation of the flesh.

The process of constructing an image such as in the action of collective memory allows the formation of images, linguistic expression, and processes of identity that leave their mark over the time. The narrative organization of a story adapts the corporeal visual unit to the distinct expressive substances and to the structural possibilities of the stories in their adaptation from literature to film and to telenovelas (soap opera). In each adaptation, changes are made where the intertextuality and the intersemiotics act as strategies in the interpretive cooperation of the receptor, using complex visual processes. The body emerges as a part of a semiotic material available to narrate the events and it becomes the principal organizer of the meaning. The body is the instrument and the means at the same time. The meanings of the concept of bodyness and the semantics matrixes are manifested in television fiction and are identifiable due to a semiotic analysis of the story. In this way we observe that it refers to a condition present in the body that permits the identification as part of a process of perception.

Based on the idea that animation art materializes the world of animism, which is the epistemological approach of identifying the presence of spirits and the action of life within all things, it is essential to comprehend how the body, as a place where life manifests itself so that the ‘plausible impossible' imagery of life continues, follows its own physics in animation, which has been refined through animation history. This paper tries to explain how the animated body is first formed, and then acts out, by analyzing the specific example of ani-body of Mickey Mouse in Steamboat Willie (1928) by Disney.

The new technologies of information and communication are carriers of a genuine revolution. This revolution was sudden, and changed every area of social and private life. These Technologies Information and Communication (ICT) have been able to find "niches of use", unthinkable fifteen years ago, in the political, relational, artistic, educational and economic areas, among others. This issue of Epistémè invites researchers from all disciplinary backgrounds to give their theoretical views on these 'ICT' now essential in our lives, but also in our intellectual concerns, and in our ways of producing knowledge, both personally and collectively.