Text as Image

Black Panther's entry into the Marvel Cinematic Universe marks a significant moment in mainstream speculative fiction, offering a promising representation of blackness and Africanism while challenging Western cultural schemata. However, scholars argue that the film also reflects opportunistic capitalist moves, noting that despite celebrating black excellence, much remains to be done. This article examines how Wakanda's cartographic and sociopolitical features facilitate its categorisation as a customary utopian place and how its evolution from tribal myth to technocratic global power mirrors the shifting trends in the conception of utopia as a projection of desired sociability and the effects this brings to Afrofuturism. The discussion raises whether Wakanda serves as an effective tool against white supremacy or merely reinforces the Western hegemonic discourses that Robin James (2014) calls the MRWaSP (multi-racial white supremacist patriarchy). Ultimately, as the film's optimistic ending, which promotes sharing Wakandan technology and wealth, aligns with neoliberal interventionist intergalactic policies, this study also revisits Afropolitanism and its idealisation in Wakanda's utopianism, juxtaposing dissenting opinions: while this Pan-African utopia certainly celebrates multicultural blackness and its universal significance, it also raises criticism about the dangers of using this tale of black excellence as the representation of Africa.

The only way for the Blind and visually impaired persons to read the holy Quran is by using a special paper edition of embossed Braille code. A new approach to reading the Holy Quran text for those persons was proposed by the author. One of the main demands for this approach is the classification of the dots and diacritics, which can be abbreviated as DaDs. This paper outlines the creation of a dataset of images for the DaDs of Al-Mushaf. A handheld scanner was developed for this purpose, and MATLAB programs were employed for DaDs segmentation. The final goal is the design of a tactile vision sensory substitution system based on an optical character recognition technique to help blind individuals read the Holy Quran in an alternative way to Braille codes. Approximately 1750 images were taken from two distinct Al-Mushaf versions with the proposed handheld scanner. Using the suggested techniques and algorithms, 6000 DaDs were retrieved from these images; however, only 4710 images of the DaDs, arranged in 22 classes, were selected after the repeated, incomplete, and non-DaDs were eliminated. The dataset was organized by DaD class, prepared to be used directly for machine learning purposes, and made available for public use upon request.

Mārīcī (Molizhi tian 摩利支天) originated in India and spread throughout various Indian religious traditions. She is also the subject of a crosscultural cult which spread to Central Asia, China, Tibet, Korea, Japan, and Southeast Asia and generated different iconographies and cults. In each locale, Mārīcī underwent localization or syncretisation with indigenous traditions. The first section of this paper will explore Mārīcī's textual transmission from India to China, including scriptures on Mārīcī in Chinese translations of Buddhist texts, and investigate the characteristics and implications of Mārīcī worship. The second section analyzes texts related to Doumu 斗母-Mārīcī, focusing on iconographies, rituals, and spells. By reading the Yuyin qianyuan dantian leifa玉音乾 元丹天雷法 [Thunder Methods of the Cinnabar Heaven of the Jade-Toned Primordial Heavens] and the Xiantian Doumu zougao xuanke 先天斗母奏告玄科 [Posterior-Heaven Ritual of Doumu's Proclamation to the Profound], this paper investigates the process through which Doumu rituals were transformed into Dipper-proclamation rites, how new Doumu rituals were formed using the framework of Dipperproclamation rites, and how they had a significant influence on later Doumu proclamation.

In a diverse student cohort, learning can be designed to encourage belonging and celebrate identity in the classroom. However, in increasingly international student cohorts, international students can find themselves displaced, living and working in new environments, and might struggle to find their voice and express their heritage in the context of their studies. By designing curricula to encourage storytelling, educators can help students to find their voice and identity as designers, and create a space for safety, vulnerability, and belonging in the classroom. As such, this paper is situated in the context of graphic design higher education and takes the form of a critical reflection, comprising a self-evaluation of the use of storytelling in the classroom based on the author's teaching experience. Rhizomatic learning (Cormier 2008) is discussed in relation to its application in the context of a graphic design classroom and its relevance in a curriculum designed to support storytelling. The critical reflection follows Brookfield's (2017) model for critically reflective teaching and takes the form of a series of vignettes featuring student projects-part of an editorial design project run annually for final-year students in the BA Information Design programme at the University of Pretoria, South Africa. In addition to these vignettes, the critical reflection references a design research workshop run for students of MA Graphic Design at the University for the Creative Arts in the United Kingdom.

The present paper is going to consider the poem “The Mountain People”
of Han Dong as a model of triple identifi cation. The fi rst possible identification is that between the character and his ancestors. It is supposed what would have happened if he were at their place. The difference is in the decisions that they made, but still the possibility that they could have made the same choice is available. This leads to the second identifi cation – with the descendant, who is going to reach the sea. He also would be identical with the character. The last identifi cation is in the end of the poem. This is the counterfactual situation in which the character himself reaches the sea. The main topic of this paper is the question: is it possible to identify one character with himself
in an alternative situation? In searching for an answer will be applied David Lewis’s theories of counterfactuals and possible worlds.

Vanished the kingfisher beauties -quiet without a trace 翠華一去寂無蹤 Strains of song and flute from the jade halls 玉樓歌吹 Ceased, drifted away with the wind 聲斷已隨風 1 T o trace the transition from the Chinese middle period to the modern age is to ask how "modern China" emerged and from where. The beginnings of China's early modern period span several centuries including part of the Tang with its declining aristocratic order, the period of division known as the Five Dynasties, and much of the Song, marked by the rise of a new merchant economy. Owing to the breakdown of central authority during the sixty-year interval that falls between the Tang and the Song, a point of rupture can be more precisely situated in the proliferation and quick succession of the tenth-century regimes known as the "Five Dynasties." Regional autonomy in the wake of the breakup of the empire favored urbanization and the development of trade and commercial networks. In this respect, the Kingdom of Shu in Sichuan is not exceptional but one of several autonomous states established within the territory of the former Tang dynasty, such as Chu in Hunan, Min in Fujian or Wu-Yue in Zhejiang, or the Southern Han in Lingnan. 2 During the period from the fall of the Tang in AD 907 to the consolidation of the Song empire in the final decades of the tenth century, two independent kingdoms successively governed China's south western region of Shu. The traditional territory of Shu corresponds approximately to that of modern Sichuan province minus the extensive

Beyond the Margins: Female Illuminators in Medieval and Renaissance Europe explores the often-overlooked contributions of women to the art of manuscript illumination from the 8th to the 16th centuries. This comprehensive study sheds light on the creative lives of female artists working both within the confines of monastic scriptoria and in the more liberated context of secular workshops. From the nuns of Pontetetto in Italy, who used their illuminations to support reformist bishops, to the bold iconographic choices of secular artists like Jeanne de Montbaston and Bourgot Le Noir, the book uncovers the ingenuity and political awareness of women who shaped the visual culture of their time.

Through detailed case studies, Beyond the Margins highlights the unique styles, techniques, and thematic innovations of female illuminators, offering fresh insights into their role within medieval and Renaissance art history. This volume is essential reading for scholars and students of art history, gender studies, and manuscript studies, as well as anyone interested in the hidden narratives of women's artistic achievements.

In this conceptual article, I examine the term "visual communicative practices" in order to understand the ways in which it can broaden the research object and concepts of visual rhetoric to offer a contemporary study of any visual object. Although calls for a more audience and reception-focused Visual Studies are not new, when coupled with a need for a decolonised approach and subject matter, the term "visual communicative practices" provides one way of starting to grapple with what these ideas and approaches mean in practice. As an example of how this term could be beneficial, the challenges associated with studying the contextual, lived and experiential visual practice of street art and graffiti are explored. These examples are used since the subject matter and research methodology do not fit entirely into any singular discipline and instead have to employ a more transdisciplinary approach to the visual and the visible. Although at times this approach can pres...

This study investigated the role of signs in wordless picture books and their influence on meaning making. The ar ticle's main aim is to highlight the i m p o r t a n c e o f u s i n g c u l t u r a l l y a p p r o p r i a te s i g n s to f o s te r n a r r a t i ve comprehension in wordless picture books. This genre of books can be a useful method and tool for translating cultural knowledge into images, but their production can be a difficult process because skilful execution is required for successful communication. Wordless picture books can serve as a medium that encourages stor ytelling and fosters a love of reading. This research involved the creation and semiotic analysis -through participant reactions -of three wordless picture books whose stories are situated within the Xhosa culture. Theoretical perspectives of social semiotics and narratology were used as lenses through which to inform the research. The findings include evidence of the importance of understanding context-relative knowledge and of using appropriate signs, symbols, and signifiers when translating and portraying narratives in wordless picture books.

Black Panther's (Coogler 2018) popularity amongst its black audiences in part stems from its foregrounding of the persistent social injustices engendered by colonialism and slavery (what Aníbal Quijano (2000:533) terms 'coloniality') and black people's struggles to overcome them. As a representational tactic in approaching this theme, the Hollywood blockbuster draws on the imaginings of Afrofuturism, which variously endorses radical or more conciliatory approaches to decoloniality. This southern theoretical approach and the critique of coloniality offered by Afrofuturism frame our exploration of how the film positions the hero, T'Challa and the villain, Erik Killmonger, as embodiments of contrasting approaches to emancipation from colonialism's entrenched legacy. Using a structuralist approach that draws on the narrative models of Tsvetan Todorov, Vladimir Propp and Claude Levi-Strauss, we analyse the film's approach to decoloniality by examining the rela...

Gérard Titus-Carmel est peintre et poète, dans la solitude et le silence d'un atelier dont l'accroissement spatial témoigne peut-être de la nécessité du mouvement, lorsque la création se fait exploration de cet estran où se découvrent et s'inventent fragments, tesselles et strates voués à la mémoire et à l'oubli. Mouvement du corps qui écrit ou peint, dessine, l'artiste donne forme et matière à l'expérience du temps et de l'espace pour en accueillir l'équilibre précaire. Caractérisant ce qui peut réunir l'acte d'écrire et l'acte de peindre, Gérard Titus-Carmel reformule ainsi leur relation : « De l'écriture à la peinture-autrement dit de la mise en espace du même vertige, comme le passage du témoin dans un relais sans fin avec, toujours, ce sourd sentiment d'impermanence qui taraude 1 ». Si l'inquiétude est l'un des points nodaux de son oeuvre, c'est aussi en ce qu'elle en constitue la force, celle d'une insatisfaction qui se fait exigence, celle d'un mouvement dont l'intranquillité s'épuise en l'évidence désirée d'une architecture, « quand tout est à sa juste place, sans autre heurt avec le monde sensible que le poids tranquille de sa présence 2 ». Peinte ou écrite, l'oeuvre de Gérard Titus-Carmel se mesure à « la même surface blanche, qu'elle soit la toile ou la feuille de papier-voire le mur, derrière, lui aussi hostile, bouchant l'horizon… 3 », qu'elle soit la page ou la double page du livre dont le pli sépare et relie à la fois ce qu'elle met en regard. Ce versant de l'oeuvre dont la part s'est accrue au fil des années, permet à son tour de prendre la mesure du souci de la juste proportion, nécessaire pour toucher à l'évidence de la beauté, proportion qui, entre

This paper offers an exploration of Julian Rosefeld's film Manifesto (2015), which is a fascinating amalgamation and interpretation of modernist, avant gardist manifestos. The paper employs the film itself as a hermeneutical framework, especially is use of the rhetorical-hermeneutical device of repetition, and also makes use of René Girard's mimetic theory. Through this double-hermeneutic, two aims are set out: the first being to offer a way to rethink the meaning of the art manifesto as that modernist genre par excellence and the second being a way to rethink trends in artistic and creative production in general.

Abstract: In various discussions on design it is evident that the idea of competition is a central concern (Bonsiepe 2006 : 27, Buchanan 1985 :7, Lasn 2006 :14, Margolin 2007 :6). Owing to its rhetorical nature, design automatically fosters a culture of comparison and competition ...

The exhibition, PASSAGES: References & Footnotes (2010), curated by Gabi Ngcobo, was site-specific and took place at the former Pass Office in Johannesburg, a space not officially acknowledged as a struggle site. Ngcobo, recognising the potential for using dynamic display formats to mobilise a curatorial concept, brought memory to the fore by installing artworks at the Pass Office as reenactments of evidence. I argue that PASSAGES invokes traumatic memory through curatorial reenactment, and indicates the potentials for reenactment to explore repressed histories that still hold presence in a contemporary moment. Memory is thus invoked as an additional "text" to mobilise the conceptual framework, akin to how remembrance is often used in the continuous struggle for justice. Employing an autoethnographic methodology, which describes an analytical approach used to critically examine the researcher's own experiences as a means to access greater understanding of cultural experience, I allow the reader to experience the exhibition through my own account. I argue that, as a nomadic curator, Ngcobo was freed from contextual, spatial, or methodological limitations traditionally bound to a colonial logic of curatorial practice. I convey that a nomadic curatorial approach can be adopted to critique traditional or institutional curatorial paradigms. To this end, I argue that Ngcobo was able to engage care in her practice by using reenactment to interrogate memory in a manner that may otherwise have been subdued within an institutional context.

Over the past forty years, studies concerning visual rhetoric have become increasingly prevalent, seeping into multiple areas of research, from visual studies to architecture and design. Robin Kinross's The rhetoric of neutrality is arguably one of the most influential pieces on visual rhetoric in design. The article was published in 1985, alongside Richard Buchanan's Declaration by design: Rhetoric, and demonstration in design practice and marks an important moment in design and particularly typographic design. The article mirrors sentiments from postmodern typographic design, where stiff modernist grids, formulaic layouts and neutral letterforms were fervently outcast. Central to this paper is Kinross's rejection that any visual medium can be described as neutral. From the mid-2010s, there seems to have been a renewed interest in "neutral" typographic application. In pursuit of "accessibility", designers and design agencies working in the spheres of...

TYPDOC Type de support CONCERNE phototype, graphique CARACTÉRISTIQUES TECHNIQUES CHAMP alphanumérique, monovaleur, obligatoire LEXIQUEliste fermée I-5 CONTENU : année d'immatriculation du support. RELATIONS AVEC LES AUTRES CHAMPS L'année d'immatriculation constitue le premier segment du numéro d'identification des phototypes et des graphiques (NUMI). Elle doit correspondre à l'année figurant dans le copyright (champ COPY). Elle peut être différente de l'année de prise de vue ou de l'année d'établissement du graphique, qui doit alors être indiquée dans le champ DATPV. FORME ET USAGE Indiquer les 4 chiffres de l'année concernée. EXPORT MEMOIRE L'année d'immatriculation dans la base Illustration est exportée dans la base Mémoire dans un format sur 4 caractères : elle doit donc être saisie sous cette forme dans le champ ANN mais également dans tous les champs portant le nom du fichier numérique correspondant à l'image produite. CONCERNE phototype, graphique CARACTÉRISTIQUES TECHNIQUES CHAMP numérique, monovaleur, obligatoire LEXIQUEliste ouverte ANN 1994 ANN 2003 ANN Année de prise de vue du phototype ou d'établissement du document graphique I-6 Numéro séquentiel du support CONTENU : numéro séquentiel par année et par département, attribué à chaque phototype et chaque graphique au moment de son entrée dans la base. RELATIONS AVEC LES AUTRES CHAMPS Le numéro séquentiel constitue le troisième segment du numéro d'identification des phototypes et des graphiques (NUMI). FORME ET USAGE Indiquer le numéro sur 5 caractères 9. Cadrer le numéro à gauche 10 avec des zéros si nécessaire : 00001, 00099, 00203, etc. La numérotation est remise à zéro chaque année, par département. * la mention "communication libre, reproduction interdite" (contrôle au versement) qui, après chargement dans Mémoire, devient "reproduction interdite" ; * la mention "tous droits réservés" 34 (contrôle au versement) qui, après chargement dans Mémoire, garde le même intitulé. LEXIQUE DIFF Liste des couples de descripteurs permettant un export dans la base nationale Mémoire * communication libre, reproduction soumise à autorisation Chargement dans Mémoire avec la mention "reproduction soumise à l'autorisation du titulaire des droits d'exploitation" * communication libre, reproduction interdite Chargement dans Mémoire avec la mention "reproduction interdite" * tous droits réservés Chargement dans Mémoire avec la mention "tous droits réservés" Liste des couples de descripteurs ne permettant pas un export dans la base nationale Mémoire 35 * communication soumise à autorisation, reproduction soumise à autorisation Pas d'export possible vers Mémoire * communication soumise à autorisation, reproduction interdite Pas d'export possible vers Mémoire * communication interdite, reproduction interdite Pas d'export possible vers Mémoire 49-Voir la liste des affixes des champs AUTR des bases Mérimée et Palissy. 50-En vertu du droit à la paternité de l'oeuvre.

TYPDOC Type de support CONCERNE phototype, graphique CARACTÉRISTIQUES TECHNIQUES CHAMP alphanumérique, monovaleur, obligatoire LEXIQUEliste fermée I-5 CONTENU : année d'immatriculation du support. RELATIONS AVEC LES AUTRES CHAMPS L'année d'immatriculation constitue le premier segment du numéro d'identification des phototypes et des graphiques (NUMI). Elle doit correspondre à l'année figurant dans le copyright (champ COPY). Elle peut être différente de l'année de prise de vue ou de l'année d'établissement du graphique, qui doit alors être indiquée dans le champ DATPV. FORME ET USAGE Indiquer les 4 chiffres de l'année concernée. EXPORT MEMOIRE L'année d'immatriculation dans la base Illustration est exportée dans la base Mémoire dans un format sur 4 caractères : elle doit donc être saisie sous cette forme dans le champ ANN mais également dans tous les champs portant le nom du fichier numérique correspondant à l'image produite. CONCERNE phototype, graphique CARACTÉRISTIQUES TECHNIQUES CHAMP numérique, monovaleur, obligatoire LEXIQUEliste ouverte ANN 1994 ANN 2003 ANN Année de prise de vue du phototype ou d'établissement du document graphique I-6 Numéro séquentiel du support CONTENU : numéro séquentiel par année et par département, attribué à chaque phototype et chaque graphique au moment de son entrée dans la base. RELATIONS AVEC LES AUTRES CHAMPS Le numéro séquentiel constitue le troisième segment du numéro d'identification des phototypes et des graphiques (NUMI). FORME ET USAGE Indiquer le numéro sur 5 caractères 9. Cadrer le numéro à gauche 10 avec des zéros si nécessaire : 00001, 00099, 00203, etc. La numérotation est remise à zéro chaque année, par département. * la mention "communication libre, reproduction interdite" (contrôle au versement) qui, après chargement dans Mémoire, devient "reproduction interdite" ; * la mention "tous droits réservés" 34 (contrôle au versement) qui, après chargement dans Mémoire, garde le même intitulé. LEXIQUE DIFF Liste des couples de descripteurs permettant un export dans la base nationale Mémoire * communication libre, reproduction soumise à autorisation Chargement dans Mémoire avec la mention "reproduction soumise à l'autorisation du titulaire des droits d'exploitation" * communication libre, reproduction interdite Chargement dans Mémoire avec la mention "reproduction interdite" * tous droits réservés Chargement dans Mémoire avec la mention "tous droits réservés" Liste des couples de descripteurs ne permettant pas un export dans la base nationale Mémoire 35 * communication soumise à autorisation, reproduction soumise à autorisation Pas d'export possible vers Mémoire * communication soumise à autorisation, reproduction interdite Pas d'export possible vers Mémoire * communication interdite, reproduction interdite Pas d'export possible vers Mémoire 49-Voir la liste des affixes des champs AUTR des bases Mérimée et Palissy. 50-En vertu du droit à la paternité de l'oeuvre.

Ecofeminism is an interdisciplinary movement which dissects unhealthy power relations. Assessing the science fiction film Black Panther (Coogler 2018) through an ecofeminist lens offers up fruitful and complicated explorations. Ecofeminism focusses on the impacts of toxic hegemonies, and the paper evaluates representations of power in Black Panther. As the vibranium meteor gives Wakanda an advantage, vibranium functions as a speculative symbol for privilege, and the responsibilities that come with the power of privileged positioning are interrogated. An analysis of the representations of culture and nature in Black Panther potentially indicates that Wakanda is not as severed from nature as our contemporary global neoliberal culture-although, arguably, much of the imagery is idealised, and what is excluded from our view is as important as what is included. An uninvited ecofeminist observation suggests that Wakanda's isolation goes against the grain of contemporary globalised neoliberalism and posits that self-reliance and self-subsistence can be a powerful alternative force. In our neoliberal system, where deregulated global trade is driving the Anthropocene, there is potentially a lesson in Wakanda's selfsufficiency. Finally, a discussion of the heart-shaped herb reveals it to be a speculative symbol of ecofeminist connectivity through uniting humanity, nature, technology, and consciousness.

In the Fall of 2010, I team-taught with Fiona Griffiths of New York University's Department of History a graduate colloquium titled 'Women and the Book: Scribes, Artists, and Readers from Late Antiquity through the Fourteenth Century'. The goal of the course as set out in the syllabus was to examine the cultural worlds of medieval women through particular attention to the books that they owned, commissioned, and created, and to consider the evidence for medieval women's book ownership, scribal and artistic activity, and patronage in relation to larger issues of women's authorship, education and literacy, reading patterns, devotional practices, and visual traditions and representation. During the first class meeting, Professor Griffiths and I posed a series of questions to the students enrolled: was there still a need to teach a course of this nature, one focused solely on women's engagement with books? Or, after four decades' worth of scholarship aimed at 'writing … women into' our respective fields, as historian Joan Scott put it, 1 had the moment arrived to consider medieval women's activities within the framework of a broader course on 'medieval people and the book'? Indeed, did making gender an organizing principle of the course contribute to the marginalization of medieval women and their artistic, intellectual, religious, and cultural activities and sustain their relegation the realm of the aberrant? Had we, through the very nature and structure of our course, foreclosed the possibility of viewing women's bibliophilic activities as a 'normative' aspect of medieval culture? 2 The thirteen women and one man enrolled in the colloquium were unanimous in the opinion that a course devoted to 'women and the book' was still the right forum for an investigation of our topic. They shared Therese Martin's

Un Canon à dire : Les deux côtés du plâtre Sébastien Grosset Elles commencent par cette phrase : « C'est à 5 heures qu'ici les conduites cognent et c'est à n'y rien comprendre ». Au bas de la page 4, le narrateur-personnage s'apprête à raconter son histoire au trou qu'il a creusé : « Alors je me penche un peu plus vers ce trou que j'ai fait et je lui dit : » Suit, à la page suivante, une parole rapportée (identique à ce que l'on a entendu jusque-là) mais prise en charge par un (ou une) deuxième lecteur (ou lectrice). Il ne s'agit pas pour autant d'une boucle, mais bien d'un canon, puisque la première voix poursuit son récit : Et j'enchaîne: C'est à 5 heures qu'ici les conduites cognent et c'est à n'y rien comprendre. Non pas qu'elles cognent à 5 heures, mais simplement qu'elles cognent: que par 35 à l'ombre des conduites puissent cogner est insensé, puisque qu'est ce qui fait cogner les conduites, sinon la chaleur de l'eau qu'on y déverse à 5 heures du matin? Parce que, oui: les conduites gèlent quand il fait 0 et c'est parce que l'eau chaude les traverse le matin et les gonfle qu'elles se mettent à cogner. Pas de réaction. Mais quelles peuvent bien être les réactions d'un trou creusé dans un mur? Et puis, y at -il vraiment lieu de réagir? J'ai posé le problème, c'est tout. Mais par 35 ?

The Big Glass reveals a multifarious fabric of rewriting. It first takes on an intertextual aspect since the text makes use of Marcel Duchamp's notes for his "Green Box" which accompanies his plastic work, the Large Glass. This first dimension brings to the foreground the notion of reiteration in two different ways. On the one hand, it is the idea of rewriting that comes into play for Duchamp's notes are reused and thus renewed by the novel. In this respect, Josipovici's fiction tackles rewriting as a dialectics of tension with the source of inspiration: a process of existing both on a par with and aloof from the hypotext, continuously hesitating between dependence and autonomy. On the other hand, the novel shows signs of intersemiotic transposition, drawing on Duchamp's work and imitating it with literary techniques. Both thematic intertextuality and formal intermediality contribute to the construction of a specific philosophy of time: the concept of "delay in glass" and the idea of chance are tokens of an intertextual as well as interartistic repetition. But then, the source of inspiration also serves as a prism through which the work of art comes into being. Staging prismatic patterns that Duchamp's work symbolizes permits to tinge the notion of rewriting in the novel with the idea of filtering or perceiving through. Hence repetition is that through which works of art are channelled. Indeed, the palimpsest seems to be akin to the delayed reception The Big Glass calls for. The protagonist of the novel, Goldberg, transcribes the notes of an artist, Harsnet. Repetition becomes as much a gesture of taking back as an act of redoing. From the very beginning Goldberg's scriptural activity hovers between reliable transcribing of a text and annotating, glossing, and interpreting it. The protagonist transcribes, but he also makes commentaries, and he even writes in a separate notebook, constructing yet another text. In this respect, rewriting becomes a practice consisting in writing through (filter, intermediacy) but also writing beside (Goldberg's notebook) or writing upon (margin, palimpsest). I wish to highlight this prismatic dynamics in Josipovici's novel by first examining the philosophy of time adumbrated with the help of the hypotext. Second, I focus on several degrees of repetition underlying the palimpsest activity, and ranging from the act of taking back (repossession) to the act of retouching or reconstructing (axiological level, hermeneutic level). Finally, I examine the idea of repetition as a stylistic device involving constant return, intermediacy or overlapping of narrative voices.

Je vous propose de faire une petite halte pour rappeler quelques points indiscutables et incontournables pour tout chercheur qui s'intéresserait au carré SATOR. Un autre passage des Actes des apôtres fait état d'un magicien plus connu qui lui, se convertit au christianisme : Actes des apôtres 8-9...13 9 Or, il y avait déjà auparavant dans la ville un homme appelé Simon, qui exerçait la magie et jetait le peuple de Samarie dans l'émerveillement. Il se disait quelqu'un de grand,

Un Canon à dire : Les deux côtés du plâtre Sébastien Grosset Elles commencent par cette phrase : « C'est à 5 heures qu'ici les conduites cognent et c'est à n'y rien comprendre ». Au bas de la page 4, le narrateur-personnage s'apprête à raconter son histoire au trou qu'il a creusé : « Alors je me penche un peu plus vers ce trou que j'ai fait et je lui dit : » Suit, à la page suivante, une parole rapportée (identique à ce que l'on a entendu jusque-là) mais prise en charge par un (ou une) deuxième lecteur (ou lectrice). Il ne s'agit pas pour autant d'une boucle, mais bien d'un canon, puisque la première voix poursuit son récit : Et j'enchaîne: C'est à 5 heures qu'ici les conduites cognent et c'est à n'y rien comprendre. Non pas qu'elles cognent à 5 heures, mais simplement qu'elles cognent: que par 35 à l'ombre des conduites puissent cogner est insensé, puisque qu'est ce qui fait cogner les conduites, sinon la chaleur de l'eau qu'on y déverse à 5 heures du matin? Parce que, oui: les conduites gèlent quand il fait 0 et c'est parce que l'eau chaude les traverse le matin et les gonfle qu'elles se mettent à cogner. Pas de réaction. Mais quelles peuvent bien être les réactions d'un trou creusé dans un mur? Et puis, y at -il vraiment lieu de réagir? J'ai posé le problème, c'est tout. Mais par 35 ?

Concepts such as oblique, vertical or horizontal are so rooted in our daily vocabulary that an explanation of the terms seems superfluous, for these are—or so we think—rather evident and unequivocal words that serve to define a state or a quality. Nevertheless, as the book under review elucidates, the reality is that for ancient Greeks these concepts were not as neatly defined as they are for us today, and that ancient Greek even lacks the words which would unequivocally correspond to our notions of oblique, vertical, and horizontal.

Un Canon à dire : Les deux côtés du plâtre Sébastien Grosset Elles commencent par cette phrase : « C'est à 5 heures qu'ici les conduites cognent et c'est à n'y rien comprendre ». Au bas de la page 4, le narrateur-personnage s'apprête à raconter son histoire au trou qu'il a creusé : « Alors je me penche un peu plus vers ce trou que j'ai fait et je lui dit : » Suit, à la page suivante, une parole rapportée (identique à ce que l'on a entendu jusque-là) mais prise en charge par un (ou une) deuxième lecteur (ou lectrice). Il ne s'agit pas pour autant d'une boucle, mais bien d'un canon, puisque la première voix poursuit son récit : Et j'enchaîne: C'est à 5 heures qu'ici les conduites cognent et c'est à n'y rien comprendre. Non pas qu'elles cognent à 5 heures, mais simplement qu'elles cognent: que par 35 à l'ombre des conduites puissent cogner est insensé, puisque qu'est ce qui fait cogner les conduites, sinon la chaleur de l'eau qu'on y déverse à 5 heures du matin? Parce que, oui: les conduites gèlent quand il fait 0 et c'est parce que l'eau chaude les traverse le matin et les gonfle qu'elles se mettent à cogner. Pas de réaction. Mais quelles peuvent bien être les réactions d'un trou creusé dans un mur? Et puis, y at -il vraiment lieu de réagir? J'ai posé le problème, c'est tout. Mais par 35 ?

This study investigated the role of signs in wordless picture books and their influence on meaning making. The ar ticle's main aim is to highlight the i m p o r t a n c e o f u s i n g c u l t u r a l l y a p p r o p r i a te s i g n s to f o s te r n a r r a t i ve comprehension in wordless picture books. This genre of books can be a useful method and tool for translating cultural knowledge into images, but their production can be a difficult process because skilful execution is required for successful communication. Wordless picture books can serve as a medium that encourages stor ytelling and fosters a love of reading. This research involved the creation and semiotic analysis-through participant reactions-of three wordless picture books whose stories are situated within the Xhosa culture. Theoretical perspectives of social semiotics and narratology were used as lenses through which to inform the research. The findings include evidence of the importance of understanding context-relative knowledge and of using appropriate signs, symbols, and signifiers when translating and portraying narratives in wordless picture books.

articles] cabinet de curiosités] archives] entretiens] comptes rendus] « lettres, lignes, tracés », écriture et image, n o 2 6 ter des notes de travail ou des travaux en cours, elle prend la forme d'un hommage amical à un chercheur éminent, Yves Jeanneret, décédé en 2020, auquel la revue avait dédié l'an dernier le numéro sur « la pensée de l'écran ». Le dernier livre du chercheur, intitulé La Fabrique de la trace (2019) ainsi que d'autres travaux publiés en revue 2 , soulignent la pertinence de cette présence dans notre numéro. Confié à David Martens, ami d'Yves Jeanneret, ce dossier est constitué d'une mosaïque de neuf témoignages de collègues, anciens étudiants et amis, suivie d'un lexique de quelques notions clés du chercheur, et accompagné d'un article d'Emmanuël Souchier (Histoire d'une rencontre : retour sur l'architexte), cosignataire avec Yves Jeanneret de nombreux travaux portant, notamment, sur les « écrits d'écran », dont il retrace pour nous la formation conceptuelle et resitue les enjeux à partir de la notion d'architexte. Ce n'était pas, on le comprend, la visée de ce numéro d'écriture et image que de soumettre les trois notions proposées en titre à un « alignement » qui n'est pas le leur. C'est bien au contraire tout l'intérêt de cette somme de contributions que de ne donner aucune réponse définitive à l'articulation conceptuelle proposée mais d'évoquer et d'interroger de façon chorale et enchevêtrée des termes qui semblaient occuper, en langue, un partage évident. L'attention portée aux objets matériels constitue l'unité paradoxale de cette livraison, plus attentive aux frontières souples que transgressent les artefacts qu'aux cloisonnements conceptuels que la langue se charge de fixer pour eux par commodité pour l'échange communicationnel.

The South African Constitution has been hailed as one of the most progressive in the world and has received high acclaim internationally (Mkhwanazi 2016:6). However, the war on women, their bodies and their right to self-determination persists, irrespective of the Constitution. Literature reveals experiences of brutal rapes and killings of black lesbian women, as well as mistreatment and hate speech in the name of morality against sex workers, women seeking abortions and HIV-positive women (Strode et al. 2012:64). Based on a desktop review of images and audio-visuals of women's narratives in South Africa, this paper finds that many of the country's contemporary social institutions, such as the state, family, church and culture, amongst others, normalise forms of gendered violence, such as the policing, control and exploitation of women's lives and bodies through cultural practices like ukuthwala and ukuhlolwa kwobuntombi. Research findings also include narratives of wome...

Cette etude propose une reflexion sur les conditions d’ecriture d’une histoire religieuse au sein d’une communaute musulmane chinoise centree sur la comparaison de plusieurs processus d’ecriture echelonnes sur une periode de 50 ans. L’enquete sur les materiaux ecrits, souvent eclairee par une enquete orale, montre que la place accordee a la relation des miracles peut etre consideree comme un revelateur de la frontiere entre le dicible et l’indicible dans le rapport que la communaute, a travers la figure de ses passeurs d’histoire, entretient avec le pouvoir politique. Depuis les annees 1980, il apparait que la circulation des recits les plus mystiques se fait a l’ombre de l’espace public.

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Kamau Brathwaite est un des ces écrivains dont l'écriture oblige à tracer de nouvelles pistes de pensée, dont les jeux-de registres, de typographies, de sonorités, de significations-ouvrent des perspectives neuves. Originaire de la Barbade, Brathwaite fait des études universitaires d'histoire en Grande-Bretagne, puis passe quelques années au Ghana. Il s'installe ensuite pour vingt-cinq ans en Jamaïque, où il est professeur d'histoire à l'Université des Indes Occidentales, Mona (Kingston). Avec sa femme Doris, qu'il appelait Mexican, il vivait dans un village des Blue Mountains derrière la capitale-Irish Town (IT). En 1986, sa femme meurt. En 1988, l'ouragan Gilbert détruit ses archives : les papiers et les ordinateurs. En 1990, il se fait agresser et dévaliser à Trench Town, quartier notoirement dangereux de Kingston. Comme il l'explique à Gordon Rohlehr, ces trois événements vont constituer une rupture, une faille "like a kind of RIFT Valley in my senscape" 1. La coupure se marque dans sa vie. Il quitte la Jamaïque, où il se sentait de moins en moins compris ; il s'installe aux Etats-Unis, où il est maintenant professeur de littérature afro-caribéenne à New York University. Elle se marque aussi dans son écriture. D'une part, il n'y aura plus de distinction entre genres, plus de différence entre poésie et prose, plus besoin d'excuse pour des notes explicatives, qui sont prétextes à nouveau jeux de langue, comme dans le livresomme sur la littérature de la Barbade, Barabajan Poems. D'autre part, il se met à jouer, à créer, avec différentes polices, différentes tailles, différents styles. C'est le "videostyle" ou "style vidéo" dont il va être question plus loin.

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This article proposes that Black Panther, with its aesthetic and thematic emphasis on Afrofuturism, as well as its spectacular technical production, makes a unique contribution to cinematic history in several significant ways. In order to establish these noteworthy contributions, both the film and Afrofuturism are engaged with. This article is divided into three distinct parts. Part I provides a brief theoretical overview of Black Panther and Afrofuturism. Part II, a short review, follows. Co-authored by Mark Kirby-Hirst, the review contextualises and analyses the film within the bounds of Afrofuturism and twenty-first century art and film criticism, in an effort to argue for the relevance and import of such a unique and yet mainstream piece of cinema history; which, we conclude, is owing in no small part to the rise in popularity of decolonising tendencies in the humanities, in art, and in wider twenty-first century visual culture. The last section of this article, Part III, provides a brief synopsis of the contributing articles to this special themed section of Image & Text.

This study investigated the role of signs in wordless picture books and their influence on meaning making. The ar ticle's main aim is to highlight the i m p o r t a n c e o f u s i n g c u l t u r a l l y a p p r o p r i a te s i g n s to f o s te r n a r r a t i ve comprehension in wordless picture books. This genre of books can be a useful method and tool for translating cultural knowledge into images, but their production can be a difficult process because skilful execution is required for successful communication. Wordless picture books can serve as a medium that encourages stor ytelling and fosters a love of reading. This research involved the creation and semiotic analysis-through participant reactions-of three wordless picture books whose stories are situated within the Xhosa culture. Theoretical perspectives of social semiotics and narratology were used as lenses through which to inform the research. The findings include evidence of the importance of understanding context-relative knowledge and of using appropriate signs, symbols, and signifiers when translating and portraying narratives in wordless picture books.

The terms Afrofuturism and decolonisation may both occupy prominent positions in the contemporary moment but they are not often projected into the same conceptual space. While the task of decolonising the curricula at South Africa's tertiary institutions looms large in the contemporary moment, for the particular disciplines of art history and visual studies, the task of creating new curricula has often taken on a temporal valence as there is a certain anxiety about making references to historical African culture in the present. Afrofuturism, however, seeks to create fissures in the present moment by using references the past to envision futures that counter a negative historical imaginary. Following an analysis of the art historical curricula at tertiary institutions in South Africa, this paper seeks to discuss the notion of both Afrofuturism and decolonisation as temporal dislocations and discursive disruptions. By looking at the film Black Panther and its numerous references to historical African art and visual culture this paper proposes that the concept of Afrofuturism may provide a method for the study of contemporary art forms through the lens of the historical and as such a potential approach to discursive decolonisation.

Black Panther's (Coogler 2018) popularity amongst its black audiences in part stems from its foregrounding of the persistent social injustices engendered by colonialism and slavery (what Aníbal Quijano (2000:533) terms 'coloniality') and black people's struggles to overcome them. As a representational tactic in approaching this theme, the Hollywood blockbuster draws on the imaginings of Afrofuturism, which variously endorses radical or more conciliatory approaches to decoloniality. This southern theoretical approach and the critique of coloniality offered by Afrofuturism frame our exploration of how the film positions the hero, T'Challa and the villain, Erik Killmonger, as embodiments of contrasting approaches to emancipation from colonialism's entrenched legacy. Using a structuralist approach that draws on the narrative models of Tsvetan Todorov, Vladimir Propp and Claude Levi-Strauss, we analyse the film's approach to decoloniality by examining the rela...

There appears to be a weak alignment between manuals on using hand gestures in oral presentations, theoretical sources on gesture production, and empirical studies on dimensions of gesture processing and use. Much of the advice in presentation skills manuals centre on prohibitions regarding undesirable postures and gestures. Furthermore, these sources tend to focus on the intentions, feelings and mental states of the speakers as well as the psychological effect of gestures on the audience. Theoretical sources, on the other hand, typically emphasise the relationship between speech and gestures, and the mental processing of the latter, especially representational gestures. Quasi-experimental empirical research studies, in turn, favour the description and analysis of iconic and metaphorical gestures, often with specific reference to gesturing in the retelling of cartoon narratives. The purpose of this article is to identify main areas of misalignment between practical, theoretical and empirical sources, and provide pointers on how the advice literature could align guidelines on gesture use with theory and research. First, I provide an overview of pertinent gesture theories, followed by a discussion of partially canonised typologies that describe gestures in relation to semiotic gesture types, handedness (left, right or both hands), salient hand shapes and palm orientation, movement, and position in gesture space. Subsequently, I share the results of a qualitative analysis of the advice on gesture use in 17 manuals on presentation skills. I then report on an analysis of the co-speech gestures in a corpus of 17 video-recorded audiovisual presentations by students of Theology. The article is concluded by proposing an outline for advice on gestures that is based on a considered integration of traditional advice in guide books and websites, theory, and empirical research.

Despite the commercial success of Black Panther (Coogler 2018) and its ostensible achievement of making Hollywood more representative of black people and "their" narratives, the film is limited in terms of the progress on inclusion it can achieve. This is because, as a Hollywood superhero film, its success is predicated upon perpetuating the colonisation of the imagination of its (still largely white) spectators and it does not represent black people on their own terms. A close focus on form exposes the film as retaining the spectacular and action-orientated visual language of Hollywood that engenders cinema as fundamentally voyeuristic and imperial. In this way, a close examination of Black Panther supports the examination of limits of what the commercial structure of an industry established upon the colonial gaze of spectacle is currently able to produce. This paper goes fur ther and also argues that decolonisation in cinema should involve a more radical confrontation of Hollywood aesthetics and the formal language of Hollywood's gaze itself, so that the embodied visual languages of global cinema and New Black cinema may be more widely employed to reveal the world of those colonised by Hollywood as materially different, on their own terms. It is only by going beyond the success of films like Black Panther in the box office and through a radical investigation of form and haptic visuality that the considerably unequal structure of the Hollywood boardroom − which produces such films in the first place − may be transformed.

Over the past forty years, studies concerning visual rhetoric have become increasingly prevalent, seeping into multiple areas of research, from visual studies to architecture and design. Robin Kinross's The rhetoric of neutrality is arguably one of the most influential pieces on visual rhetoric in design. The article was published in 1985, alongside Richard Buchanan's Declaration by design: Rhetoric, and demonstration in design practice and marks an important moment in design and particularly typographic design. The article mirrors sentiments from postmodern typographic design, where stiff modernist grids, formulaic layouts and neutral letterforms were fervently outcast. Central to this paper is Kinross's rejection that any visual medium can be described as neutral. From the mid-2010s, there seems to have been a renewed interest in "neutral" typographic application. In pursuit of "accessibility", designers and design agencies working in the spheres of...