Literature and the Visual Arts

Starting from the intertwining of interpretations of the term écriture féminine, this analysis will develop around the 'poethical' and political aspects of Cixous' concept, which could be described as the non-presence of the author, language as a productive force and the 'poethical' as political. If it is the case that écriture féminine is not a recipe, not a protocol, not a style, and not even necessarily féminine, then the rest of écriture might also host versions of a feminine that is formed in its own language, outside of any particularity, essence or opposition. The core ideas underlying our claim that Ferrante's oeuvre is a new form of écriture féminine lie in Ferrante's reflections on her way of writing, in the productive heights of narrative pleasure she expresses, and in the narrator's not-knowing, not-saying and enjoying. Ferrante's writing challenges the theoretical and/or political dead ends of thinking about women and literature, not only because of her persistent anonymity, but above all because of her immersion in a language that does not allow for safe simplifications.

Se, a princípio, a ligação entre arte, crítica e política parece óbvia, a presente obra nos mostra o contrário. Os eixos da coletânea (“Paisagens da arte contemporânea”, “Do urbano ao virtual e vice-versa” e “Som-palavra-imagem: perspectivas críticas”) revelam o campo de forças multifacetado da temática, criando uma experiência de leitura que se integra e se complementa, com cada um dos textos ressoando nos demais. Arte, crítica e política: cruzamentos e contradições é, por isso, uma obra que abre espaços nesse campo prolífico, fazendo jus à complexidade do assunto.

Acredito que a arte é uma potência que rompe com o mundo das representações", diz Lanussi, no livro A arte contemporânea e o pensamento da diferença *O CONTEÚDO ASSINADO E PUBLICADO NA COLUNA OLHARES NÃO EXPRESSA, NECESSARIAMENTE, A OPINIÃO DE A TARDE Os materiais têxteis fazem parte da pesquisa e da poética da artista visual desde o início de sua trajetória Abertura da exposição, com curadoria de João Gravador: obras recusam qualquer identificação definidora

No dia 13 de abril aconteceu, no bairro histórico do Dois de Julho, a primeira edição do CAB -Circuito de Arte em Boteco. Concebido como projeto independente, e organizado por Milena Ferreira e Busca, artistas que dividem apartamento no bairro, a proposta foi ocupar nove bares da região com uma experiência em artes visuais a partir da ideia de atelier aberto, em que os artistas participantes apresentaram trabalhos em processo, conversaram sobre suas pesquisas poéticas, interagindo com os visitantes interessados.

This article focusses on three of Ivan Vladislavić's novels as well as several essays and seeks to demonstrate that the navigations which they depict between the divided parts of Johannesburg, by car but also, interestingly, on foot, actually contribute to creating connections between them. The figure of the flâneur is replaced by that of the artist, in the kaleidoscopic vision that Vladislavić's writing offers of the South African metropolis. Ivan Vladislavić's piece of "literary non-fiction" on Johannesburg, entitled Portrait with Keys, 1 is one of the author's works which has attracted the greatest number of reviews and articles, if only because of the original attempt by its author to cross several areas of Johannesburg on foot: the streets of his neighbourhood, but also every single corridor and floor of its former major office and shopping complex, the Carlton Centre, and even some streets of the former CBD now abandoned by white people. Vladislavić seems to follow in the footsteps of many of his former characters, in particular Aubrey Tearle, the anti-hero of one of his previous novels, The Restless Supermarket. The latter culminated in an epic night stroll through Hillbrow which registered the irresistible change overcoming the city even before the official demise of apartheid. Vladislavić shifts to another mode of crossing the city in his latest novel, Double Negative, as the protagonist's favourite game is to try and recognise in which part of the city he finds himself while he sits with his eyes closed in his father's car moving through the South African metropolis. Despite this difference, this article would like to show that each of these various crossings through the city offers so many connections between its supposedly fragmented, segregated parts, through itineraries that criss-cross the city like so many patterns on a map. Vladislavić plays with various modes of moving through the city, as well as of writing on and about the city, encouraging his readers to navigate through each of his works as well as through his body of writing as a whole. We shall see besides that maybe because of Vladislavić's training in Fine Arts and his collaborations with architects and visual artists, readers are also invited to see some of his writing as a cross between literature and other modes of representation of and relation to the city. Ivan Vladislavić was born in Pretoria in 1957 but considers himself a Johannesburger, since he has lived in Johannesburg since 1977, and is besides one of the South African writers, with Lionel Abrahams and Herman Charles Bosman, who has written the most extensively on that city. Quite a few of his short stories use the city as a background or an element of the plot, but the scope of this article cannot encompass them. In the rest of his work, be it fiction or non-fiction, Vladislavić has mostly written on Johannesburg as even more than just a setting, to the point that he has coined the phrase "Joburg books" (Dicey 39) to create a category in which to place Portrait with Keys, a book of "literary non-fiction" (Lenta 119), part journalism, part autobiography, which entirely takes place on the streets of Johannesburg which are looked at closely by 1. All references are to the American edition, which bears the subtitle The City of Johannesburg Unlocked, but the book was first published in South Africa in 2006 by Umuzi under the title Portrait with Keys: Johannesburg & What-What.

This literary analysis explores Sylvia Plath’s “Daddy” as a landmark poem in modern American confessional poetry. The essay offers an in-depth interpretation of the poem’s use of symbolism, historical imagery, and feminist voice, positioning Daddy as both a personal expression of trauma and a broader critique of patriarchal authority.

Written shortly before her death in 1962, Plath's poem reveals a powerful emotional narrative shaped by her complex relationship with her father, Otto Plath. Through metaphors of Nazism, vampirism, and silence, the poem represents the struggle of the female voice in a male-dominated society. This study also considers Plath’s use of the confessional mode and psychoanalytic elements such as the Electra complex, placing Daddy within the larger framework of post-war American poetry and feminist literary criticism.

This resource is especially useful for:

BA and MA English Literature students

IGNOU MEG-01 British Poetry learners

Scholars studying confessional poetry, gender and literature, or symbolism in modern poetry

University coursework, and literary research

Daddy poem analysis for English literature students
Feminist interpretation of Daddy by Sylvia Plath
Confessional poetry in American literature
Psychoanalytic and feminist criticism of Sylvia Plath
Sylvia Plath Daddy poem summary and literary meaning
Modern poetry and patriarchal symbolism in Daddy
American confessional poetry for MA English students
Otto Plath and father-daughter dynamics in poetry

Sylvia Plath's confessional poem, "Lady Lazarus" can be used to illustrate a connection between autobiography and social critique. "You poke and stir" among the institutions that form social relations--the educational system, the court system, the economic system--to find individuals whose lives, whose joys and pains, and struggles for survival have been involved with building, manipulating, consciously demolishing and rebuilding the cultural context(s) in which they form their lived relations. There is a connection between an academic perspective on student narratives and the critical work that has been done with confessional poetry such as Plath's. Some of the problems with reading confessional poetry parallel the difficulties caused by trying to critically read student autobiography. Teachers must help students deconstruct the opposition between personal and abstract writing. Teachers must ask their students to understand how their social roles and their individual autobiographies are determined by their cultural context, to step outside those roles and critique their contexts, and finally, by stepping back into their own stories, somehow to change their representations of cultural context in a way that accommodates collective stories. Students need to explore the "self," the events in their lives, the domestic as operating within the boundaries of a social context; to see their voices as part of a communal dialect that is neither fixed nor stable. (Contains 20 references.) (SAM)

Despite the aspect of language being a hotly debated matter in the multicultural African society, the contemporary playwright has the right to choose any language as a literary tool to craft the drama. Ngugi wa Thiong'o and Chinua Achebe have opposed views on which language a writer must employ to express African literature. However, the freedom to choose a language of expression could, arguably, be due to the need to reach the wider audience. The language of choice should attempt to delineate the current everyday urban African aesthetics and milieu. Hinged on Contemporary Realism, the plays Mzansi Hopes and The President's Prerogative by Smith Likongwe of Malawi are crafted using the English language, and the playwright employs the English language in its current form. The plays' dialogues constitute sentence patterns ranging from simple, compound, and complex sentences, current diction, phrases, rhetorical devices, portmanteau, and the presence of aspects of fusion of local expressions into the English language (or sandwiching) or codeswitching. The plays' dialogues are largely expressed in ordinary language though few aspects of rhetorical devices may be noticed which is a matter of style.

Lo studio intende individuare le caratteristiche che rendono Berlin Alexanderplatz (1929) di Alfred Döblin un capolavoro del modernismo letterario.
Quando Benjamin parla di “crisi del romanzo” si riferisce infatti proprio a quest’opera di Döblin, che sfida la lunga tradizione del Bildungsroman nel senso classico e borghese del termine, così come ogni costruzione gerarchicamente organizzata delle molteplici strutture che si intersecano in esso, per favorire uno stile epico rivisitato in chiave moderna. Caratterizzato da un ritmo temporale innovativo e anticonvenzionale che evoca quello accelerato e incalzante della fase di sviluppo frenetico antecedente alla crisi del ‘29, Berlin Alexanderplatz cattura in diversi episodi la tensione tra individuo e collettività nell’organismo stratificato della città moderna, un luogo divenuto ostile all´affermazione della propria identità. La mancanza di individualità, l’alienazione scaturite da Berlino rendono il protagonista del romanzo, il proletario berlinese Franz Biberkopf, eroe perfetto e allo stesso vittima dell’epopea moderna, un flâneur che, avendo perso qualsiasi punto di riferimento politico, sociale e culturale, non riesce a governare la città e i suoi effetti: la sua a Berlino è una vera e propria Odissea alla ricerca di un rifugio in una piazza progettata per le masse, in uno spazio divenuto minimo comune denominatore di un ordine sociale labirintico e frammentato. L’autore stesso, Döblin, non è più il regista onnisciente, il deus ex machina che dominava l’intreccio romanzesco, ma un monteur meccanico che si mette sullo stesso piano del lettore e, sulla falsariga di Brecht, si limita a mostrargli le logiche autonome secondo cui funziona la metropoli moderna, la sua complessità semiotica e le reti che ne costituiscono la tessitura tecnologica e sociale.

La vera novità del romanzo di Döblin consiste nel riflettere il moderno soprattutto a livello formale, perché per poter narrare un’ entitá spaesante e labirintica come la metropoli moderna occorrono categorie nuove, che prevaricano il procedere uniforme della ratio e si avvalgono di una conoscenza legata all’immagine; ciò che ne risulta è un genere epico eclettico e proteiforme che, svelando l´impenetrabilità del contesto in cui opera, prevede la compresenza di possibilità espressive diverse e spesso contrapposte. Per questo motivo, nell’analisi, si presterà particolare attenzione alle tecniche narrative, sperimentali e moderniste tipiche del Dadaismo e del Futurismo con le quali Döblin traduce, in termini letterari, la filosofia modernista di Simmel, conferendo alla sua opera uno carattere unico ed innovativo. Una di queste è la tecnica del montaggio letterario, il cui principio stilistico non solo scardina il concetto di ‘romanzo’, ma ritrae anche le tensioni psichiche e le peregrinazioni mentali dei suoi personaggi in balia del traffico della città, dell’esplosione delle sue voci e dei mass media. Si dimostrerà come tali intermezzi, digressioni, rapida scansione di voci narranti e salti di contesto, nell’ interrompere il normale svolgimento della narrazione principale degli eventi, creino un effetto di simultaneità di diversi strati temporali all´interno della stessa cornice, una caratteristica condivisa da molti altri romanzi modernisti, come da To the Lighthouse di Virginia Woolf e dall´Ulysses di James Joyce.

El presente artículo es resultado del análisis iconográfico de las pinturas coloniales en América, referidas a la vida y milagros de San Francisco Javier. El corpus analizado permite alcanzar algunas generalizaciones tendientes a develar la importancia del arte para la evangelización en la conformación de la sociedad colonial. Asimismo, introduce un nuevo paradigma de análisis-la recepción-sustentado por las actuales corrientes historiográficas que, en el cruce interdisciplinario, se enfocan en la reconstrucción de las formas en que eran interpretadas las pinturas, según su cosmovisión y contexto particular.

Written between George Eliot's early and late novels, The Lifted Veil (1859) departs from the typical third-person narration characteristic of the Victorian writer's oeuvre. The story is told in the first person from the perspective of an eccentric young man named Latimer, an aesthetic choice that lends a confessional tone to the tale. Latimer possesses a special ability: he can read the future and foresee his own death. In many ways, the novella straddles dark fantasy and realism as it juxtaposes elements of Gothic fiction, such as Latimer's interests in revivification, with an attentive depiction of the material reality. After all, The Lifted Veil reminds the reader that Eliot's literary realism alternates between an accurate depiction of the external world and an investigation of human consciousness. Starting from these premises, in this essay I would like to argue that through the motif of the veil Eliot builds up a densely poetic narrative in which the boundary between art and fiction, reality and imagination is refracted. On the one hand, The Lifted Veil pushes realism to its limits much like Giuseppe Sanmartino's famous marble sculpture Cristo velato (1753), foregrounding a narrative form replete with sensory vividness, especially for the visual, haptic and olfactory imagery that permeates the text. On the other hand, the novella serves a much broader purpose in that it may be read as an aesthetic experiment. Through the trope of the veil, Eliot acknowledges that scientific inquiry can expand the scope of literary writing, contributing to a more accurate form of realism.

In this essay, I show the breadth of Elena Ferrante’s engagement with the topic of horror. Drawing from phenomenology, I argue that the essence of the horrifying for Ferrante resides in matters of powerlessness and the absence of control. This departs from the standard motifs of the horror genre, and redirects us to more commonplace experiences of the horrifying, such as the breakdowns, the violence, and the sexual assaults so vivid in Ferrante’s work. I demonstrate Ferrante’s conceptual engagement with horror through her non-fiction texts and a study of the Neapolitan Quartet, concentrating especially on her thinking on prediction and the control we can assert over our lives. These reflections converge around two central themes in Ferrante’s production: smarginatura and frantumaglia. Overall, and also through a character study of Lila Cerullo, I show how focusing on horror beyond the horror genre provides a remarkable interpretative lens to analyze several key aspects of Ferrante’s production.

Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the "Deutsche Nationalbibliografie"; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de/.

Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the "Deutsche Nationalbibliografie"; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de/.

Le blanc dans la poésie espagnole du XX e siècle, invisible illisible ou espace de création de la métaphore ? Résumé : Comme en Europe, bien qu'avec des spécificités, la poésie espagnole du XX e siècle voit se développer des pratiques tendant à visualiser la lettre et à spatialiser, de façon illustrative ou non, le poème, enclenchant ainsi un rapport différent, inauguré par Mallarmé, entre le réel et les mots. Les espaces en blanc internes au vers, ou facteurs d'un nouvel agencement des vers, devenant alors lignes horizontales ou non, étaient jusque là le domaine de l'invisible, dans la mesure où le blanc est considéré habituellement comme « fond » de l'écrit. Pourtant, les blancs font eux aussi naître une visibilité éparpillée de façon aléatoire, abstraite ou figurative (calligrammes). Le blanc devient alors l'espace du lecteur qui doit trouver comment « coudre » entre eux les éléments visibles, afin, au-delà du signifié immédiat né de la dimension visuelle, de lire autrement, en parcourant les strates de sens qui spatialisent la conception même de métaphore et sa réception. Les auteurs donnés comme exemples sont : V. Huidobro, G. Diego, J. Brossà, B. de Otero. Mots-clés : poésie espagnole-poésie visuelle-blanc-ligne Resumen: Como en el resto de Europa, aunque con sus propias peculiaridades, la poesía española del siglo XX desarrolla prácticas de visualización de la letra y de espacialización, ilustrativa o no, del poema, renovando así, según inicia Mallarmé, la relación de la realidad y de las palabras. Los blancos pertenecían habitualmente a lo invisible, en la medida en que el no se suele ver sino como fondo de lo escrito. Durante el siglo XX, los espacios blancos organizados dentro del verso o actores de una nueva organización de los versos, se hacen líneas y dan a luz a una visibilidad esparcida de manera aleatoria, abstracta o figurativa (caligramas). El blanco se convierte entonces en el espacio del lector, a quien le toca "coser" entre sí los elementos visibles, para, allende el significado inmediato nacido de la dimensión visual del poema, leerlo de otro modo, recorriendo los estratos de sentido hasta la concepción misma de lo que es la metáfora y su recepción. Los autores evocados son V.

After turning a few pages, Les Carnets du Cerpac has become PoCoPages, edited by Judith Misrahi-Barak. Though the term Poco may stir up in the reader's mind images of some American country rock band, or again various possession rituals associated with Africa or the Caribbean, the reference here however is to the abbreviation of postcolonial. The term in its diversity is meant to re ect the interest of PoCoPages for postcolonial, diasporic cultures and literatures, steeped in métissage and crossed borders. Quelques pages ayant été tournées, Les Carnets du Cerpac sont devenus PoCoPages, édité par Judith Misrahi-Barak. Le terme Poco fera peut-être penser à un groupe de rock country américain, ou à divers rituels de possession associés à l'Afrique et à la Caraïbe. C'est pourtant à l'abréviation de postcolonial que référence est faite ici. Le terme, dans sa diversité, re ètera l'intérêt de PoCoPages pour les cultures et les littératures postcoloniales, diasporiques, trempées de métissage et de frontières traversées.

Este trabalho visa a analisar o modo como Rui Nunes equaciona, na sua ficção, as relações entre vida e morte, através da mediação da dor, da doença, da senescência, da História colectiva e da biografia individual. Na estética do autor, a autorrepresentação desenvolve-se como reflexo ampliado de uma esfumada representação colectiva da Europa novecentista. 

Ce volume est le réceptacle d'une réflexion critique et collective au long cours qui trouve son origine dans le cycle de séminaires interuniversitaires, Home, initié à Bruxelles en 2018, autour des facettes polysémiques et des frontières poreuses de la notion de « home ». Toute tentative de définition pose la question de savoir si home correspond à un lieu, un espace, un sentiment - au singulier ou au pluriel -, à des pratiques ou à des états d'être au monde, ainsi qu'à ses habitants, à leur vie concrète et symbolique, à leur mémoire et à leurs rapports de classe, de genre, de génération et de race. Et nous la poserons à partir de la littérature et des arts contemporains afin d'en comprendre le rôle dans cette appréhension d'une spatialité domestique.

This book is the result of a critical and collective long-term reflection that originates in the cycle of interuniversity seminars, Home, initiated in Brussels in 2018, around the polysemic aspects and porous borders of the notion of 'home'. Any attempt at definition raises the question of whether home corresponds to a place, a space, a feeling-in the singularor plural-, to practices or states of being in the world, as well as to its inhabitants, their concrete and symbolic lives, their memories and their class, gender, generational, and racial relations. And we will raise it from the point of view of contemporary literature and arts to better grasp their role in the understanding of a domestic spatiality.

No discurso lido por sua filha Anna na cerimônia de recebimento do prêmio Goethe da cidade de Frankfurt, Freud afirma que a psicanálise poderia "pôr em evidência novas correlações nesta obraprima de tecelagem que se desenvolve entre as predisposições pulsionais, as experiências vividas e as obras de um artista". 1 Entre esses três planos, para que seja possível tecer relações, pressupõe-se diferença, distância. Em contraponto, a artista francesa radicada nos Estados Unidos Louise Bourgeois dedicou grande parte de sua longa existência, interrompida em 2010 aos 98 anos, a misturá-los. Ao tentar tornar indiscerníveis vida e arte, ela se alinhava a uma importante preocupação das vanguardas da primeira metade do século XX, e tornavase, na década de 1980, um dos mais importantes nomes do chamado "novo subjetivismo" na arte contemporânea. A exposição de Louise Bourgeois O Retorno do Desejo Proibido, vista recentemente em São Paulo e no Rio de Janeiro, tem como eixo central a tese de que boa parte da produção da artista decorre diretamente de sua análise. A publicação, como parte do Catálogo desta exposição, de anotações variadas feitas ao longo de décadas com o título "Escritos Psicanalíticos", é o ato final desta mistura arte/vida. Este ato é tanto mais significativo por se realizar praticamente no momento de sua morte. Isso sugere que Louise se ausenta, sempre, de alguma maneira-como ela anota em 1957, "nós existimos principalmente por nossa ausência". 2

What Gianni Vattimo criticized in The Transparent Society (1989, 20003) as the “ideal of transparency” has nowadays mutated in what I would rather call the ideology of transparency, ironically historicizing it as “2.0”, in order to distinguish it from other forms it took before the digital turn. What about the problem of “the limits of derealization”, which Vattimo’s chapter added in 2000 was devoted to, in such a new phase?

Grau d'Estudis Anglesos ACKNOWLEDGEMENTS. First of all, I would like to thank my tutor, Clara Escoda Agustí; without her guidance, advice, and inexhaustible patience, this dissertation would not have been possible. I would also like to thank all of my professors, as their passion inspired me and made me fall in love with literature. I am extremely grateful to my friends and family, they are the ones who have helped me get through all these years. Finally, I would like to express my infinite gratitude to my mother, whose emotional support has been indispensable for me to be here today. I dedicate this dissertation to her.

Comparse per la prima volta nel 1745 , le Invenzioni e capricci di carceri all’acquaforte di Giovanni Battista Piranesi si attestano sulle tracce di una rappresentazione delle categorie che ordinano le informazioni relative alla vastità, all’infinità, all’immanenza, in un processo di sintesi figurale che combina indizi mistici e inquietudini surreali.  Lo spazio delle Carceri si consegna allora, alla vista, come contenitore di un’energia sovrumana e terribile, ponendosi ad oggetto di una riflessione estetica che Burke, nel 1757, perfezionerà nella teoria della sublimità dell’elemento che sgomenta. La tavola piranesiana si fa quindi luogo di voluta mescidazione di segni percepiti dai sensi e di proiezioni del fantastico; diviene prospettiva d’indagine in cui convergono l’elemento fisico dello spazio antropico e quello non circoscrivibile del concetto divino.

Book Review: In the second edition of Tarot and Other Meditation Decks: History, Theory, Aesthetics, Typology author Emily E. Auger examines Tarot's relationship to art movements, literature, and film. This expansion on the first edition adds a more in-depth appendix, additional research to enhance the existing sections, and a new section focusing on the influence of the shadow on both Tarot itself and the other mediums Tarot influences.

The sea is powerful. Its constant movement, the flexing of its aquatic muscles make one feel as impotent as it is ephemeral. Based on the phenomenology supported by Bachelard and Merleau-Ponty, the objective of this work is to examine the drawings of the sea throughout history, focusing on two contemporary artists, Vija Celmins and Joana Patrão, who demonstrate the primacy, subtlety, and complexity of the theme of water, the body and time. One of the signs of the predominance of ephemerality and movement in drawing is the privileged place occupied by the metaphor of water and time formulated by Heráclito. With this analysis, an attempt is made to build a bridge between philosophy and drawing, to justify the affiliation of the latter to a poetics of water. The unity, the stylistic characteristics and the indissoluble links between these artists are exposed to demonstrate the latent capacity of drawing to invent ways to freeze the sea, while making it seem still in motion.

In a reflective afterword to a recent volume of essays on ekphrasis, one of the most prominent theorists of ekphrasis over the past few decades, James Heffernan, observes that "ekphrasis is probably the most Protean of all critical terms we have" ("Afterword" 257). While Heffernan's earlier claim that "ekphrasis is the verbal representation of visual representation" continues to provoke debate, as we shall see hereafter, his acknowledgment of the Protean, and contentious, status of how we define ekphrasis is broadly reflective of the current critical status of the field (Museum 3). In fact, much of the critical reaction in recent years-including David Kennedy and Richard Meek's 2019 volume, Ekphrastic Encounters: New interdisciplinary essays on literature and the visual arts, in which Heffernan's recent afterword appears, and an influential 2018 special issue of the journal, Poetics Today-speaks to a reassessment of the precise meaning of the term ekphrasis in the context of late twentieth century and early twenty-first century aesthetic and cultural shifts. One of the dramatic shifts, in literary terms, that has occurred in recent decades is what Renate Brosch characterizes as "an astonishing upsurge of ekphrasis in popular novels" ("Ekphrasis in Recent Popular Novels" 403), particularly with respect to their featuring of canonical works by famous artists. She suggests that "the more we are surrounded by the digital, the more precious surviving art objects from periods of manual production become" (403). While Brosch's observations, with respect to popular novels-the subject of attention in her essay-are persuasive, this phenomenon is not restricted to popular novels. A similar fascination with ekphrasis, and often with respect to canonical painters, has occurred in novels and stories that generally would be considered artistically and formally innovative, rather than "popular." Some specific examples include Gabriel

Desenhos realizados em Canson A4 durante a pandemia da COVID 19 são o objeto de análise do artigo. O primeiro deles é um tributo à Louise Bourgeois e os demais se ancoram no devaneio bachelardiano. O caráter apocalíptico da atualidade conduz a retomadas de experiências passadas e/ ou tentativas de imaginar outros mundos onde seja possível viver, num estreitamento de laços com os universos surrealistas. Considero, finalizando as as reflexões, que a transformação dos processos poéticos gerada pela pandemia, pode proporcionar o alento necessário para transpor o sofrimento e o medo.

The Routledge Companion to Literature and Art explores the links between literature and visual art from classical ekphrasis through to contemporary experimental forms. The collection’s engagement with diverse literary and cultural artifacts offers a comprehensive survey of the vibrant interrelationships that currently inform literary studies and the arts.

Featuring four sections, the first part provides an overview of theoretical approaches to art and literature from philosophy and aesthetics through to cognitive neuroscience. Part two examines one of the most important intersections between text and image: the workings of ekphrasis across poetry, fiction, drama, comics, life and travel writing, and architectural treatises. Parts three and four consider intermedial crossings from antiquity to the present. The contributors examine the rich intermedial experiments that range from manuscript studies to infographics in graphic narratives, illuminating the vibrant ways in which texts have intersected with illustration, music, dance, architecture, painting, photography, media installations, and television.

Throughout this dynamic collection of 37 chapters, the contributors evolve existing critical debates in innovative new directions. The volume will be a critical resource for advanced undergraduate and graduate students, as well as specialist scholars working in literary studies, philosophy of art, text and image studies, and visual culture.

Aider, why aider why whow, whow stop touch, aider whow, aider stop the muncher, muncher munchers. A jack in kill her, a jack in, makes a meadowed king, makes a to let.-Gertrude Stein, Tender ButtonsT HIS IS THE DRESS, AIDER Aider, why aider why whow, whow stop touch, aider whow, aider stop the muncher, muncher, munchers. A jack in kill her, a jack in, makes a meadowed king, makes a to let.-Gertrude Stein as cited by Marjorie Perloff in Poetics of Indeterminacy: From Rimbaud to The title of the above 'object' from Tender Buttons, as cited by Marjorie Perloff, with the second 'THIS' replaced by 'THE', is not how it appears in the 1914 Claire Marie edition of the book. Strangely, this is the edition Perloff lists as her source, although as it is reprinted in The Selected Writings of Gertrude Stein. But there, too, the title is 'THIS IS THIS DRESS, AIDER'. There is no full stop after the title in the Selected Writings version, as there is no full stop in Perloff's example. But the title is justified on the left margin in both the Claire Marie and Selected Writings texts. The only version in which the title is centred, where the second 'THIS' has been printed as 'THE' and where there is no full stop after the title is in Gertrude Stein: Writings and Lectures, 1909-1945, but in this printing, as in all others, there is no additional comma between 'muncher' and 'munchers'. The multiple errors that have afflicted the text of Tender Buttons during its publication history are disturbing but not surprising. The book offers no standardised

A feminist [literary] aesthetics, although is not a distinctive field of knowledge or epistemology, yet it has come to be known as such, in use to identify a distinct set of perspectives to read texts and raise certain questions about theories and assumptions on representations of women in literature, art, and other audio-visual media using aesthetic categories. Therefore, feminist scholars actively engaged in aesthetic interpretations investigate how the gendered representation of women in aesthetic objects leaves a mark on the conceptualizations on literature, art, aesthetic judgements, artists and their works. The other facet of feminist scholarship is aesthetic interpretation of works by women, especially since in the mainstream patriarchal academia there are fears of male appropriation of feminist works, the interpretations are to be jealously guarded.

Sylvia Plath's Ariel collection of poems placed her among the United States' most important confessional poets of the twentieth century. Almost all the poems in Ariel, which were written during the last few months of Plath's life and published after her death, are "personal, confessional, felt" (Lowell, 1996, p. xiii). Several events that are mentioned in these poems make reference to the poet's own life experience. Plath, indeed, "transformed her own life into writing" (Bassnett, 2005, p. 5). Analyses such as these have led some critics to consider much of Plath's poetry to be an eloquent expression of her own factual experience. "Daddy", one of the best-known poems in the Ariel volume, incorporates several autobiographical details worthy of note. The first part of this research paper is an investigation into the diverse autobiographical elements present in "Daddy"; the second part is an analysis of Plath's faithfulness in transforming details about her private life into art.

Julia Kristeva's concept of revolt allows us to consider the work of Louise Bourgeois from different perspectives, encouraging new readings of her artistic production. Revolt, as a remembrance of one's experiences in life through the work of psychoanalysis, the motion of returning to a core theme during more than seven decades of artistic production and the return of the corporeal with its dominance in the sculptural, allows us to get closer to the creative process of one of the most important artists of the 20th and 21st Centuries.

In this cross-case analysis of six young children's wordless book readings, we examine the ways in which participants use social understanding during the reading of a wordless book to understand the narrative story. Using a conceptually based coding scheme, we identified places in children's readings in which they imagined the thoughts, feelings, and intentions of characters. We refer to this use of social understanding during reading as social imagination, as it is occurs not in an actual but in a vicarious context. The findings indicated that children who frequently engaged in imagining the minds of others produced more as well as more varied meaning units and often 'became' the characters during their wordless book reading. Multimodal analysis of video data show that children who used social imagination relatively more frequently had livelier readings, with extensive use of inflection, emotion, and voicing of characters as well as a sense of continual investment in the narrative event as it unfolded. The use of social imagination appears to be critical in making sense of a story. The cases presented here demonstrate how understanding the minds of others leads to more complex thinking during the reader-text transaction. Implications for classroom practice and research are discussed. Zaira R. Arvelo Alicea has a PhD in Curriculum and Instruction from Purdue University. Currently, she teaches English at the University of Puerto Rico in Aguadilla. Her research interests include early literacy, reading, and English as a second language.

The aim of this paper is to study the perception and the interpretation of a poetic discourse of hermetic nature by the reader. The perception and analysis of this type of discourse implies a complex decoding process of an intentionally encoded text by its author. The paper focuses on the methods and tools proposed by eminent linguists and semioticians in the context of sign processes.

A cura di Giulio Carlo Pantalei e Nunzio Giustozzi
Electa // Terme di Caracalla, Roma (25 novembre 2023 - 14 aprile 2024)

Promosso dalla Soprintendenza Speciale di Roma e organizzato da Electa in collaborazione con l'Archivio Tullio Pericoli, il progetto letterario e visivo prende le mosse dal titolo di uno dei più famosi saggi di Italo Calvino, apparso nel 1962 sul “Menabò”, rivista da lui diretta insieme a Vittorini. L’esposizione, a cura di Giulio Carlo Pantalei e Nunzio Giustozzi, ha diverse anime e si dispiega negli ambienti delle Terme di Caracalla lungo tre sezioni in dialogo tra loro.

Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the "Deutsche Nationalbibliografie"; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de/.

The life and work of Sylvia Plath has been of great interest since her suicide in 1963. While her poems and short stories had been published in a variety of journals and magazines before her death, it was not until the posthumous release of Ariel that Plath's true depths were discovered by a large audience and she gained popular acclaim. Critics now claim that The Colossus and Other Poems was Plath's discovery of her own voice and her taking on of "the world of what is important to her" (Kendall 9), but that it is Ariel that unrepentantly reveals Plath's true emotions (Butscher 341). The "Sylvia 1 " identity that arose from the ashes of Plath's suicide was someone new to critics and friends alike-as Bere says, there are "obvious discrepancies between the [public] Sivvy of the letters 'singing' her 'native joy of life' and the violent, destructive poet of Ariel" (Wagner-Martin 61); however, there is something undeniably real about the "Sylvia" that appears in Ariel. The Ariel Sylvia was not the put-together Sylvia that would have tea in one's living room nor the doting daughter who would write letters home from England nor Hughes's Sylvia who "had a great capacity for happiness" (Becker 48). Instead, Ariel's "Cut," "Edge," and "Daddy" focus on death, hatred, and pain-not topics someone "remorselessly bright and energetic" (Butscher 341) would fixate on. While some artists have placed their identity farther from their work, Plath is known for her confessional style poetrya form of poetry which, according to Steven Gould Axelrod, consists of three essential elements: "an undisguised exposure of painful personal event. .. a dialectic of private matter with public matter. .. and an intimate, unornamented style" (Axelrod 98). Unlike other styles of poetry that are set apart by form or specific themes, confessional poetry is defined by the author's "expression of personal pain" such as "destructive family relationships; traumatic childhoods; broken marriages; recurring mental breakdowns; alcoholism 1 "Sylvia" refers specifically to Plath's identity, whether that be a false or true identity. It does not speak to Plath's work or legacy, but rather, who she was as a person. Daly 3 or drug abuse" (Collins 197). Born out of feelings of lost individuality that arose in the 1950s and 60s, confessional poetry aimed to "embody the individual perception in direct ways," setting itself apart from previous forms because "rather than creating masks or different personae, they [confessional poets] began to speak from a position which was unambiguously their own" (Collins 199). For these reasons, writing confessional poetry requires an understanding of one's own suffering, along with an ability and willingness to capture that personal pain in an honest and vulnerable form of poetry-after all, it has been coined "confessional poetry" because it requires that the author "confess" painful truths regarding him or herself. A single glance at poems such as "Daddy" and "Lady Lazarus" shows that Plath was a textbook example of the confessional poether writing (especially at the end of her life) focused on her own painful struggles with loss, a dying marriage, mental illness, and other challenging areas of her life. One such autobiographical poems is "Words heard, by accident, over the phone," a poem that discusses Plath's actual experience of answering the phone and having her husband's lover ask to speak to him. The poem describes the speaker receiving a call from an unnamed individual who asks, "Is he here?" It is a seemingly harmless question, but the poems describes the words as "plopping like mud," implyingin a heavy-handed fashionthat there is something about these words in this context that is dirty and sullies the speaker's home. The speaker then asks, "how shall I ever clean the phone table?" (Plath, Collected Poems, 202), bringing to light the speaker's desire to clean her household of the incident, which she considers to be filthy and unhealthy. It also demonstrates a hopelessness that this stain could ever be removed from them, as the speaker finds no answer for how to clean the phone table. As is typical of confessional poems, there is very little masking of the real-life event in this poem, and the speaker is not invented, but rather is interchangeable with Plath herself. Just like the speaker Daly 4 in the poem, Plath historically answered the phone in 1962 only to have Assia, Hughes' lover, ask her "Is he here?" about Plath's husband. As demonstrated by "Words heard, by accident, over the phone" above, Plath adopted a very personal style of poetry, tying her poems to her identity in a way that many authors would not dare, and bringing her identity into the spotlight with the success of Ariel. Like "Words heard, by accident, over the phone," countless other poems by Sylvia Plath including "Suicide off Egg Rock," "Edge," and "Cut" are inspired by her experiences. For this reason, it can become easy to view her poems as biography or fact, when they are actually creative works. While it is true that Plath's poems are often emotionally relevant to her, the emotions that she conveys were never meant to be expressed as singularly her own. Rather, she intended to write poetry that would echo both her own emotions and the emotions of her audience. The sheer number of drafts

A paisagem se caracteriza como matéria primordial para a união entre elementos sensíveis e inteligíveis, possibilitando a transcendência da palavra poética. Essa pesquisa tem por objetivo analisar como a paisagem enquanto um espaço capaz de possibilitar um dos recursos mais importantes da poesia que o é de transcender a palavra poética. A metodologia adotada nessa pesquisa foi a de revisão bibliográfica, com dados coletados em obras de autores como Gaston Bachelard (1978), Michel Collot (2013), Michael Hamburger (2007), dentre outros autores. Os resultados mostram que os espaços poéticos permitem aos indivíduos uma relação de intercambialidade entre a realidade e a imaginação, objetivo e subjetivo, esses elementos materiais e imaginários são indissociáveis e se interagem de maneira incessante, dando, então, vida à palavra poética.

Książka jest pierwszą monografią poezji polskiej dającej się różnorako wiązać z japońskimi miniaturami haiku. Autorka poddaje analizie lirykę ostatnich z górą stu lat (od Młodej Polski po czasy najnowsze), omawia intersemiotyczne uwikłania haiku, dotyka również problematyki translatologicznej. W pracy opisywane są zarówno utwory ortodoksyjnie wierne założeniom gatunku, jak też wiersze różnorako oscylujące wokół prototypu formy i miniatury ukrywające pod modnym orientalnym szyldem stare europejskie formy literackie. Monografia wpisuje się w nurt badań komparatystyki kulturowej; pokazuje panoramę zjawisk artystycznych szeroko definiowanego modernizmu: polskiego i, w bardziej punktowych odsłonach, zachodnioeuropejskiego i amerykańskiego.