Representation Theory

The classical (scalar-valued) theory of spherical functions, put forward by Cartan and others, unifies under one roof a number of examples that were very well-known before the theory was formulated. These examples include special functions such as like Jacobi polynomials, Bessel functions, Laguerre polynomials, Hermite polynomials, Legendre functions, which had been workhorses in many areas of mathematical physics before the appearance of a unifying theory. These and other functions have found interesting applications in signal processing, including specific areas such as medical imaging.

PROGRAMM

13:30 Uhr
Kerstin Pinther und Niklas Wolf (LMU München) // Welcome and Introduction

14:00-14:45 Uhr
Katarzyna Falecka (University College London) // Mohamed Kouaci and the Photographic Infrastructures of the Algerian Revolution

14:45-15:30 Uhr
Akinbode Akinbiyi (Berlin/Lagos) // Lagos, All Roads

15:30 Uhr Coffee Break

16:00-16:45 Uhr
Katharina Jörder (FU Berlin) // Verwoerd in the Photobook. A Critical View on the Pictorial Representation of the Architect of Apartheid

16:45-17:30 Uhr
Rana el Nemr // Artist Talk
moderated by Susanna Baumgartner und Mascha Salgado de Matos

18:15 Uhr
Evening Lecture
Ulrich Pfisterer (Zentralinstitut für Kunstgeschichte, München) // Welcome
Tamar Garb (University College London) // Apartheid´s Interstices: Santu Mofokeng and the Site/Sound of Every-day life

19:15 Uhr
Exhibition Opening

This work explores the deformation theory of algebraic structures in a very general setting. These structures include commutative, associative algebras, Lie algebras, and the infinity versions of these structures, the strongly homotopy associative and Lie algebras. In all these cases the algebra structure is determined by an element of a certain graded Lie algebra which plays the role of a differential on this algebra. We work out the deformation theory in terms of the Lie algebra of coderivations of an appropriate coalgebra structure and construct a universal infinitesimal deformation as well as a miniversal formal deformation. By working at this level of generality, the main ideas involved in deformation theory stand out more clearly.

Globalization has typically been regarded as challenging representative democracy at the state level. This chapter outlines four of these challenges-that of democratic externalities, of transnational global processes and supranational organizations, of cosmopolitan norms, and of effective and justified representation at the global level. It then explores three solutions that have been put forward to meet them: scaling up to a supra-national regional or even a global democracy for certain issues; creating a trans-national network of democratic bodies that address different issues and functions; or having international associations of representative states under the equal control of their elected representatives. Whilst the first and second solutions are shown to create problems of both representation surpluses and deficits-some groups get over-represented and other groups under-represented, it is argued that the third solution can avoid both these difficulties and that it addresses the challenges more directly.

From Aristotle to social contract theory, contract doctrine has been through transformations, and by the 18th century, it had developed the principle that the state should not interfere with individual contract freedom. As the Industrial Revolution emerged, however, the unequal contract conditions between employees and employers had become worse. In order to found his call for legal reformation of these unequal conditions on a solid base, Green criticised social contract theory and the individualist conception of contractual freedom and constructed an alternative theory consisting of individual freedom, common goods and government intervention. The present article aims to expound the practical significance of Green’s theoretical works, and accordingly, it will explicate how the class representation issue in the 19th century British Labour Legislation movement prompted Green to reconstruct the theorem of liberalism and provide a theory for the reformation. What Green thus established is a popular democratic theory with a focus on contractual justice and state duty.

The group theoretical treatment of bound and scattering state problems is extended to include band structure. We show that one can realize Hamiltonians with periodic potentials as dynamical symmetries, where representation theory provides analytic solutions, or which can be treated with more general spectrum generating algebraic methods. We find dynamical symmetries for which we derive the transfer matrices and dispersion relations. Both compact and non-compact groups are found to play a role.

For any number field F, call a cusp form \pi on GL(2)/F {\it special icosahedral}, or just s-icosahedral for short, if \pi is not solvable polyhedral, and for a suitable "conjugate" cusp form \pi' on GL(2)/F, sym^3(\pi) is isomorphic to sym^3(\pi'), and the symmetric fifth power L-series of \pi equals the Rankin-Selberg L-function L(s, sym^2(\pi') x \pi) (up to a finite number of Euler factors). Then the point of this Note is to obtain the following result: Let \pi be s-icosahedral (of trivial central character). Then \pi_f is algebraic without local components of Steinberg type, \pi_\infty is of Galois type, and \pi_v is tempered everywhere. Moreover, if \pi' is also of trivial central character, it is s-icosahedral as well, and the field of rationality \Q(\pi_f) (of \pi_f) is K:=\Q[\sqrt{5}], with \pi'_f being the Galois conjugate of \pi_f under the non-trivial automorphism of K. Comment: This (second and final) version involves no major changes from ...

A pesar de los múltiples vaticinios que, desde los albores de los modernismos europeos y tras una reconocida crisis del sujeto y de su imagen, se acumularon sobre la muerte del retrato — ora por exceso, ora por defecto, en cuanto a sus capacidades representativas —, lo cierto es que el arte y la literatura contemporáneos parecen haberse mantenido de una forma general ilesas en relación a todas esas provocaciones apocalípticas: además de la ubicuidad de los actuales selfies fotográficos, el volumen de retratos y autorretratos producidos en nuestros días, fruto o no de pedidos, desafía toda enumeración. Además de en los espacios expositivos más tradicionales; en el cine o en los videojuegos, en series televisivas, en instalaciones y medios digitales, en composiciones literarias o musicales o en el ámbito del arte urbano, del arte textil o de las artes decorativas, los retratos se afirman como una especie de género invasivo, que encuentra en el contexto cultural contemporáneo terreno particularmente fértil a su propagación. Hasta tal punto de haberse convertido en inevitable anunciar la muerte de la muerte del retrato (Wright, 2005), reafirmando, con ello, supuestos impulsos ancestrales del ser humano para la autorrepresentación y para la contemplación colectiva. Si, en el contexto de una filosofía contemporánea del extrañamiento como la de Sloterdijk (2008), ha tomado particular relevancia la cuestión de la existencia, del Dasein, de la presencia humana en el mundo como «abismal excentricidade» (id.: 16), no parece que hayamos resuelto completamente la preocupación típicamente moderna de la identidad y la individualidad, que seguimos de un modo general considerando como una carencia primordial.

We study the higher spin anologs of the six vertex model on the basis of its symmetry under the quantum affine algebra U q ( sl 2 ). Using the method developed recently for the XXZ spin chain, we formulate the space of states, transfer matrix, vacuum, creation/annihilation operators of particles, and local operators, purely in the language of representation theory. We find that, regardless of the level of the representation involved, the particles have spin 1/2, and that the n-particle space has an RSOS-type structure rather than a simple tensor product of the 1-particle space. This agrees with the picture proposed earlier by Reshetikhin.

در این درس با مفهوم ‎«تجزیه‌پذیری»‎ و اهمّیتِ ‎«‎مدول‌های تجزیه‌ناپذیر‎»‎ در مطالعهٔ نظریهٔ نمایشِ جبرهای آرتین آشنا می‌شویم. خواهیم دید که قضیه‌ای اساسی، مشهور به ‎«‎قضیهٔ کرول-اِشمیت»، تضمین می‌کند که هر مدول متناهی مولد روی یک جبر آرتین تجزیهٔ یکتایی بر حسبِ جمعِ مستقیم مدول‌های تجزیه‌ناپذیر دارد.  بنابراین، مطالعه و رده‌بندیِ مدول‌های تجزیه‌ناپذیر، به عنوانِ ‎«‎اَتم‌»های سازندهٔ سایر مدول‌ها روی یک جبر آرتین، از اهمیتِ بسیاری برخوردار است. اگر چه در حالت کلی رده‌بندی همهٔ مدول‌های تجزیه‌ناپذیر روی یک جبر آرتین دشوار و گاهی نَشدنی است، خواهیم دید که چگونه می‌توان سه ردهٔ مهم از مدول‌های متناهی مولدِ تجزیه‌ناپذیر روی جبرهای آرتین، یعنی مدول‌های‌های ساده، پروژکتیو و انژکتیوِ تجزیه‌ناپذیر، را به کمکِ عناصر خودتوان توصیف کرد.

State University of Milan, Anglophone Literature 2013/14 (MA module), Teaching Unit B: South Africa - Representation Across History, Gender and Genre.

Unit B deals with the problem of textual representation and its implications in the definition of historical, social and literary categories.

- Njabulo S. Ndebele, “Rediscovery of the Ordinary” (1984)
- J. M. Coetzee, “Jerusalem Prize Acceptance Speech” (1987)
- Njabulo S. Ndebele, The Cry of Winnie Mandela (2003)
- J. M. Coetzee, Elizabeth Costello (2003)
- Antjie Krog, “Fact Bordering Fiction and the Honesty of ‘I’” (2007)
- Antjie Krog, “What the Hell is Penelope Doing in Winnie’s Story?” (2009)

This paper explores the visual representation of chagas disease, a neglected tropical disease endemic in Latin America, studying the nature of images sampled from Google. Using key words “chagas disease”, “la enfremedad de chagas”, and “doenća de chagas”, the generated images are categorized and analyzed through a combination of content analysis and semiotic analysis. The key pattern of depiction noted in this study is the visual prominence of triatomine bugs and mug shots of ill persons, despite higher number of transmission cycle images which receive less visibility as much of their composition is empty. Common themes of depiction of human beings and triatomine bugs are also interrogated, whereby the depiction of women and children exhibits victimized portrayal in comparison to that of men. Higher levels of iconic abstraction and more use of “relay” text with images has been also noted in Spanish and Portuguese publications when compared with those in English.

A land comprising more than fifty nations and innumerable cultural and geographic variations, from harsh desert to lush jungle, Africa has long been a favorite subject for photographers.  Since the advent of the medium in the first half of the nineteenth century, a myriad of photographers—both indigenous and immigrant, amateur and professional, explorer and colonist, naturalist and artist—have recorded intrepid expeditions, documented flora and fauna, and chronicled the transformations of the cultural landscape.

            Photography and Africa investigates the many themes that intertwine the photographs with the circumstances of their creation. Presenting a wealth of astonishing and rare images, Erin Haney brings together some of the most vibrant examples captured in the continent. From royal portraiture in the nineteenth-century Cape Coast to staged vignettes of old Cairo streets to apartheid-era South African resistance photography, this book illustrates the fascinating and long-standing relationship between Africa and the photograph.

A powerful and celebratory insight into Africa’s relationship with the photograph, Photography and Africa will appeal to those interested in the photography and culture of Africa and how the two have interacted and informed each other over time.

I.-Aproximación. En los últimos tiempos ha hecho fortuna, y no solo entre los movimientos sociales más críticos, la expresión "no nos representan", con la que se quiere denunciar la insuficiente respuesta que el sistema representativo está ofreciendo a las aspiraciones ciudadanas de alcanzar una sociedad democrática avanzada. Se trata, como es bien sabido de un tema "clásico" en el ámbito de la filosofía, la ética, la ciencia política, el derecho político y constitucional,…, hasta el punto de que autores tan, en principio, opuestos como Hans Kelsen y Carl Schmitt coincidieron en denunciar -aunque, obviamente, no con la misma intensidad, argumentos o confianza en su reforma-las carencias democráticas del parlamentarismo.

En décembre 1904, Georges Méliès, ancien directeur du théâtre Robert-Houdin, spécialisé en spectacles de prestidigitation, et l'un des pionniers du cinéma, génial créateur des films de fiction, des effets spéciaux et des féeries cinématographiques, annonce une nouvelle vue animée qui va s'ajouter au catalogue de la Star Film, sa célèbre maison de production : Le Juif errant, « fantaisie biblique », présentée avec L'Ange de Noël, « pièce pathétique en 7 tableaux », comme des « vues artistiques spéciales pour Noël » 1 .

This chapter discusses the range of meanings of the concept of representation in the field of animal studies. It draws out the complexities of the term, discussing the term "representation" in the contexts of notions of animal minds, political philosophy and questions of aesthetics. The aim is to explain and attend to the importance for animal studies of the irresolvable tension between portrayal and advocacy that constitutes the notion of representation itself.

Resumen
El presente texto expone las características y propiedades de las imágenes digitales, que se oponen a ciertas propuestas actuales que celebran la superación de órdenes sociales mecanicistas y remarcan las posibilidades que abre la presente era tecnológica, en la que el ser humano produce, distribuye y consume representaciones visuales. El objetivo del texto es desarrollar teóricamente estas características para enriquecer las discusiones sobre la articulación entre imágenes digitales y tecnología
Abstract
The present article exposes characteristics and properties of digital images that oppose to current proposals that celebrate the overcoming of mechanistic social orders and highlight the possibilities opened by the present technological era, in which human beings produce, distribute and consume visual representations. The objective is to develop theoretically these characteristics to enrich and improve discussions about articulation between digital images and technology.

This paper takes Patrick Heron’s assertion as to the abstract nature of painting as a starting point for a phenomenological investigation into the way in which abstract works comport themselves. How do abstract paintings attain meaningfulness, and along which communicative channels is meaning attainable? Perhaps in opposition to Picasso’s denial of the possibility of abstract art, and affirmation of the vitality of figurative painting (and restatement of: ‘the power of the object’), Heron presented an alternative idea; declaring all painting to be, in effect, of the abstract. In positing an abstract primacy to one’s experience of the world in painting – Heron’s thesis, I will argue, opens more doors than it closes. In support of his hypothesis, Heron drew together the terms: ‘space’, ‘colour’ and ‘form’ – the bedrock of countless claims regarding abstraction’s truth – and invoked an: ‘abstract reality’, which painting (including that which is usually taken to be figurative painting) is seen to embody.

The relationship of abstract painting to the world has proven to be a problematic one. To revisit it is to wrestle with the notion of resemblance, and therefore to speculate as to how it is that one thing is able to point to another. In this work I will examine the degree to which abstraction – as idea – is compatible with an understanding of the serviceability of pictures, and, in so doing, shed light on the extent to which pictures might operate within painting as both language and something else. Central to this is a consideration of the limits of that which is deemed communicable; the method of comprehending abstract painting’s truth(s); what it is that the spectator is able to bring to the table; and how this bringing to can be woven into a fuller conception of abstract painting’s particular operability…from which colour, form and space might be made sense of. I will position abstract painting as an involvement: a form of engagement from which the spectator might come to better understand an engagement with form.

L’artiste donne-t-il plus à la communauté lorsqu’il élabore des stratégies d’attaque d’un ennemi identifié (le détournement du spectacle, selon Debord) ? Lorsqu’il met directement en circulation des images « émancipées » (le partage du sensible, selon Rancière) ? Ou lorsqu’il réfléchit sa propre projection fantasmatique de l’autre dans le regard – et la voix  – qu’il reçoit (la traduction de la parole des subalternes, selon Spivak) ? Ses trois esthétiques et leur circuit du don respectif peuvent bien sûr se compléter l’une l’autre. Ainsi, chercher à conjoindre une stratégie de reconfiguration sensible et politique à long terme et à portée globale à de nouveaux partages du sensible hic et nunc semble un projet intéressant à soutenir. Ou encore, développer des scènes d’échange où le « recevoir » de l’autre – sa réception – est toujours attendu comme un contre-don qui permettra au donateur de se « revoir », de réfléchir son propre regard et d’amender ses jugements, semble un défit important à relever. D’autant que ce dispositif du « re-se-voir » ne vient pas remplacer les deux autres, mais, à certains égards, intègre le don par détournement, par négation de la négation, et le don par mise à disposition d’un tissu sensible égalitaire.

A hatvanas években mennyire volt messze a múlt? Hol kezdődhetett a jelen idő?
A szocialista tudatra nevelés, a város lakosainak szórakoztatása, vagy esetleg a turizmus fellendítése adta a motivációt? A szocialista hazafiság eszményei, az osztályharc-elmélet tetten érhető-e a Karneválról szóló sajtótermékekben, esetleg a visszaemlékezők elbeszéléseiben?

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The Savaria Carnival is the prominent summer program of present-day Szombathely. it has its
roots in the 1960s. the essay here deals with these roots. after presenting the venue and participants
of the Carnival, the essay deals with the manifestations of the local patriotism during the Carnival,
presenting the historical view and the time perceptions as suggested by the Carnival, with particular
reference to the horthy era and the post-World War ii period.

This essay explores through film theory specific to narrative, the relationship between nature and death as represented in the British film "The Falling" by Carol Morley. The patterns of change and stability, cause and effect and time and space, related to film narrative, were analysed. The conclusion suggested a connexion between the depiction of birth, growth, and mortality through nature's imagery and the conceptualisation of death, ultimately finding a connection between the events narrated and a representation of life's cycle.

Because of their novelty as a means of communication and language, early films on the Passion of Christ (1896–1916) faced unexpected problems and roused unprecedented questions about the issue of a valid representation. Filmmakers and producers attempted to respond to such problems resorting and adhering to the given religious art tradition. In this paper I will attempt to analyze the reasons, modalities and meanings of the artistic references in early filmed Passions in order to reach and meditate on the core of such representations whose essence as aura was called into question by the entrance into the spectacle and the system of mass society.

La photographie a joué un rôle important dans la popularisation du portrait qui consiste, traditionnellement, à figurer les traits du visage en une sorte d'immortalisation de l'apparence et, plus largement, a en exprimer le statut social, le caractère ou les émotions. À son stade primaire la photo d'identité, telle que nous la connaissons aujourd'hui, nous fait aboutir à un autoportrait systématique réduit au simple constat topographique de la surface du visage... Je parlerai donc plutôt d'autoreprésentation, afin d'éviter les connotations visuelles trop connues qui se rattachent au portrait traditionnel... L'effet de ressemblance n'étant qu'un aspect particulier de la représentation, j'insisterai plutôt sur le facteur de mise à distance, lequel, me semble-t-il, est fondamental pour toute représentation de quelque ordre qu'elle soit.

Il est des livres en sciences sociales qui sont remarquables : non seulement ils nous apportent avec élégance et précision de nouvelles connaissances, mais ils transforment aussi notre regard sur l'objet étudié. Tel est le cas de l'ouvrage de Marieke Louis. Depuis près de deux siècles, [les organisations internationales] ont forgé les principaux points d'ancrage de l'action collective au plan international et se sont confondues avec l'activité multilatérale qui occupe, désormais, l'essentiel des politiques extérieures. Le paysage international en a été profondément transformé. Pourtant, les organisations internationales sont toujours restées suspectes d'insignifiance : mauvais fonctionnement, défaut de capacités, manque de résultats. De manière récurrente, les critiques portent sur ce que nous pourrions appeler « le triangle de fonctionnalité » des organisations internationales : la relation entretenue entre leur légitimité, leur efficacité et leur représentativité. Rares sont les études à s'être penchées sur la signification et le contenu pratique de ce socle fondateur, régulièrement transformé et contesté au cours de l'histoire des organisations internationales. Le grand mérite du livre de Marieke Louis est d'en dévoiler les ressorts en suivant la façon dont l'Organisation Internationale du Travail (OIT) a construit et réformé sa représentativité. On apprendra ainsi que loin d'être immuable, la représentativité varie selon les contextes, les enjeux et les rapports de force au sein de l'organisation. Entendue comme un certain état de la représentation à un moment donné, elle apparaît comme une convention entre les membres de l'organisation qui rend possible leur coopération. Elle s'ajuste continuellement aux conditions de cette coopération dans une double logique indissociable d'inclusion-exclusion. Ce point suffirait à lui seul à montrer toute l'originalité du regard de l'auteure et à justifier pleinement la lecture d'un livre qui rappelle que les organisations internationales doivent être pensées dans la durée, et que le sens de leurs arrangements ne se comprend que dans une perspective dynamique et relationnelle. Servie par une enquête d'une ampleur assez considérable et par une démarche rigoureuse, la démonstration est non seulement inventive, mais aussi minutieuse et convaincante. On tient là un livre important sur les organisations internationales.

For the complete chapter http://press-files.anu.edu.au/downloads/press/p21521/pdf/ch055.pdf

A chance encounter took place in the remote, rocky desert-scape east of Alice Springs sometime in the 1930s between an ambitious young tourism executive from Melbourne and a young Warlpiri-Anmatyerre man. The Melbourne Man was touring Australia by car, searching for spectacular pictures and adventure stories for a new tourism magazine. The Aboriginal man was walking south to a large ceremonial gathering of clans with a senior companion. The tourism executive, Charles Holmes, could not believe his good fortune when a young, fit and handsome man named Jimmy appeared unexpectedly before him, naked, carrying a woomera, spear and a boomerang. He immediately drew a mental link between the books he had been reading and the man he was looking at. Holmes was overcome by the belief that the man named Jimmy was the most magnificent specimen of Aboriginal manhood, a living example of Baldwin Spencer's "Stone-Age" man and Charles Pickering's "wild" "original" hunter all rolled into one. He felt compelled to capture Jimmy's image on film and instructed his cameraman to snap a series of photographs. The camera shutting whirred as the photographer launched into action, stage-managing poses, expressions and settings and freezing for posterity scores of static portraits and action shots. During the following 30 years these captured images played a significant role in the definition of Australian Aboriginality. Holmes later admitted he had used them repeatedly to present Jimmy as a "symbol of a vanishing race". These images also enmeshed both men in a complicated relationship, an understanding of which provides a rare insight into the dynamics of Australian race relations and the power of tourism as an agent of social control and change.

Japan has the highest life expectancy and, at 42 per cent in 2005, among the highest percentage of people over 50 in the world (Ministry of Internal Affairs and Communications 2005). In addition, this older age group has on average the highest monthly expenditure (Ministry ...

Michels analiza el comportamiento de las élites en el sistema democrático, en el marco de los partidos políticos, así como también la conducta de las masas en el juego del poder. De esta manera, utiliza el método sociológico para dar cuenta del indispensable rol de las oligarquías sobre las masas amorfas, impotentes e incompetentes sobre cualquier nivel de organización. 
A partir del papel de las élites en la democracia, Michels critica lo que él llama el sistema delegativo y propone un sistema político aristocrático de perfil burocrático, moral y tecnócrata.

In einer Demokratie sollten Bürger misstrauisch werden, wenn Politik als Kampf zwischen Populisten und Anti-Populisten inszeniert wird, wenn es plötzlich nur noch zwei politische Lager zu geben scheint, von denen nur eines als politisch legitim angesehen wird. Erfahrungsgemäß hat nicht jeder, der gegen den Populismus auftritt, auch die Verteidigung der Demokratie im Sinn. Es ist daher wichtig, sich populistische und anti-populistische Narrative genauer anzusehen: Wie sie gemeinsam unser Verständnis demokratischer Institutionen anleiten und uns helfen, mehr Demokratie einzufordern, aber auch Kritik an der Politik und der Gesellschaft zu formulieren.

En octubre de 1975 tuvo lugar el famoso debate efectuado entre Jean Piaget y Noam Chomsky en el castillo de Royaumont, Paris. Cuarenta y un años después de este suceso, resulta interesante recuperar parte de lo discutido en aquel entonces a la luz de las investigaciones posteriores desplegadas dentro del campo de la Gramática Generativa y la Teoría del Desarrollo en lo que respecta al vínculo entre el pensamiento y el lenguaje. Es así que se pondrán en discusión los aportes de la Gramática Generativa de Chomsky-junto con las ideas de Jerry Fodor-y la Teoría del Desarrollo –encarnándose en la perspectiva neo-piagetiana de Annette Karmiloff-Smith. Dos tipos de perspectivas que intentan saldar, a su manera, la dicotomía analítica «mente/cuerpo» que inaugura Descartes y que ha atravesado el abordaje teórico de la relación «lenguaje-pensamiento». En consecuencia, el tratamiento que cada uno de estos autores le otorgue a esta problemática, también formará parte del recorrido propuesto por este trabajo.

Abstract

In October 1975 took place the famous discussion between Jean Piaget and Noam Chomsky in the castle of Royaumont, Paris. Forty years after this event, it is interesting to recover some of what was discussed at that time in the light of further research deployed in the field of genera-tive grammar and the Theory of Development with regard to the link between thought and language. So, we will put under discussion the contributions of Chomsky's generative grammar-along with the ideas of Jerry Fodor-and the Theory of Development –from the neo-piagetian perspective of Annette Karmiloff-Smith. Two types of prospects who try to settle in their own way, the analytical dichotomy "mind / body" which was opened by Descartes and has crossed the theoretical approach of "language-thought" relationship. Consequently, the treatment that each of these authors granted to this problem, form part of this work.

Chanady, T. (2020). Dépasser les stéréotypes et le conformisme : queeriser les représentations LGBTQ* à la télévision de fiction québécoise. Dans I. Boisclair, G. Poirier Girard et P. Landry (Eds.), Le queer dans les productions littéraires, artistiques et médiatiques québécoises. Presses de l’Université de Montréal.

La représentation de la diversité sexuelle à la télévision de fiction
populaire au Québec a connu d’importants développements : des premiers personnages homosexuels récurrents, masculins et stéréotypés, à la fin des années 1970, à l’émergence plus tardive et plus lente de la visibilité lesbienne, une bonne partie des séries populaires affichent aujourd’hui fièrement leurs gais et lesbiennes «de service». En parallèle, les personnages bi, trans et LGBTQ+ racisés ainsi que ceux présentant des expressions de genre diversifiées demeurent pratiquement absentse du paysage télévisuel québécois. Je propose dans ce texte un court historique des représentations LGBTQ+ pour ensuite m’intéresser aux conditions dans lesquelles est rendue possible la visibilité de la diversité sexuelle et de genre. Quelles normes encadrent les représentations de la sexualité et du genre ? Comment les discours entourant les représentations traversent-ils l’espace public ? Les stéréotypes sont aujourd’hui moins évidents à pointer du doigt: au contraire, on remarque un grand souci de normalisation des personnages pour les rendre rassurants, accessibles et non menaçants pour un auditoire général. Je m’intéresserai ensuite aux problématiques soulevées par la populaire série Unité 9, cette dernière cadrant les désirs sexuels entre femmes dans l’environnement contraignant de la prison, et présentant un traitement transphobe d’un de ses personnages. Lire la télévision en tant que texte culturel, social et politique suscite plusieurs réflexions importantes par rapport à la visibilité médiatisée : cette dernière n’est en effet pas nécessairement émancipatrice, participant également à la reproduction de normes hégémoniques et de rapports de pouvoir

در این درس با ساختارِ جبری مهمی به نام ‎«جبر»‎ و مثال‌های متداولی از آن‌ آشنا می‌شویم. همچنین خواهیم دید که مدول‌های روی یک جبر به معنای مناسبی ‎«‎نمایش»‌های آن جبر هستند و موضوع نظریهٔ نمایش جبرها در سطح مقدماتی، مطالعهٔ و رده‌بندی مدول‌ها، به ویژه مدول‌های متناهی مولد، روی یک جبر است.