Word and Image Studies

The study highlights that nature has a significant impact on romantic poets' moods. The significance of the study displays that nature plays a big role in changing the mood of some English romantic poets from pessimistic to optimistic. The daffodils flowers can shift a person's gloomy condition into an optimistic one. The study shows how William Wordsworth's poem Daffodils reflects his love of nature and how daffodils flowers were able to change his depressing condition into an optimistic one. The study used a descriptive and analytical methodology. The study concludes that nature could change the poets' attitudes from a pessimistic one to an optimistic one, especially the daffodils flowers. Also, nature has an impact on both their literary output and their attitudes, sentiments, and way of life. Romantic writers cherished nature because it could affect their feelings and generate beautiful poetry. A person's appreciation of nature acts as a mirror to reflect their thoughts, sentiments, and traditions, as well as their outlook on life.

This volume examines the literary figure of ekphrasis with a particular focus on its role in an overarching poetic or artistic design. As a literary phenomenon with roots in the earliest Greek poetry, ekphrasis has been traditionally defined as Kunstbeschreibung (‘art description’). Recent scholarship has challenged this definition and broadened it to extend beyond descriptions of artworks and beyond poetic contexts. Nevertheless, ekphrasis retains the basic outline of a sensory, especially visual, experience translated into words. As such it invites an audience to engage with a real or imagined object and to reflect on the text-as-object and its artistic construction. The sensory element of ancient ekphrasis allows this literary device to raise questions of perception and cognition, as well as materiality, spatiality, and aesthetics. The papers in this volume engage with a variety of texts and objects which shed new light on the special relationship between ekphrasis and poetry, ekphrasis and art. The material covered here ranges from the Hellenistic period, where ekphrasis experienced its great efflorescence, to Late Antiquity, and it will be of interest to literary scholars, art historians, and archaeologists.

This study investigates the role of affirmations as transformative tools for accessing the psychic mind and fostering psychological resilience. Grounded in an interdisciplinary framework that integrates metaphysical traditions, transpersonal psychology, and contemporary empirical research, the paper traces the historical and cultural evolution of affirmations across indigenous, esoteric, and modern spiritual practices. By synthesizing perspectives from anthropology, psychology, and neuropsychology, the research elucidates how affirmations engage the unconscious mind to reprogram limiting beliefs, enhance emotional regulation, and promote a growth mindset. The paper further explores the neurobiological underpinnings of affirmation efficacy, highlighting their activation of brain regions implicated in reward processing and self-related cognition. Significantly, the study emphasizes the pragmatic integration of affirmations into social work and human services, advocating for culturally sensitive, client-centered approaches that leverage affirmations to empower individuals and support holistic healing. Findings underscore affirmations’ potential to bridge conscious and unconscious processes, offering novel insights for enhancing mental health interventions and advancing transpersonal metaphysical healing within social work practice. The paper concludes with recommendations for future research focused on the longitudinal effects of affirmation-based interventions and the role of spirituality in mental health, advocating for a more holistic, culturally attuned framework in psychological and social services.

The order of elements in Italian and Polish sentences: a contrastive context – Syntax is considered by generativists as the “crown” of grammar, the foundation of communicative activity, which means that the creation of more or less complex texts, at the syntactic level, reflects the true ability to verbally convey thoughts in functional terms, and reflects the actual mastery of a language. The natural word order of a sentence, both in Polish and Italian, is Subject-Verb-Object. How ever, by modifying the order of its elements, it is possible not only to change the style of the utterance but also to achieve different communicative goals and perform different linguistic acts.
The syntax of a Polish sentence is determined by rection; this means a relationship in which a subordinate word “takes” the case required by the main element. This poses considerable difficulties for Italian speakers learning Polish as a foreign language. On the other hand, the so-called marked word order in Italian is sometimes difficult to understand and intuit for Polish speakers. We believe that one of the most interesting observations resulting from the comparison of the syntax of the two languages is that contrastive study of the sequence of elements in sentences can effectively convey nuances of meaning, prevent interpretation errors, and positively influence the quality and pragmatic correctness of utterances expressed in the foreign language. Our work, therefore, offers a five-step didactic procedure aimed at teaching Italian marked syntax to Poles and Polish syntax to Italians.

A franquia de games God of war (GOW) exemplifica o conceito de narrativa transmídia, em que elementos ficcionais se disseminam por diversas mídias, criando uma experiência unificada. Em GOW, cada mídia contribui para o desenvolvimento da história do protagonista, Kratos, cuja base é aculturada pelos mitos gregos e nórdicos, de modo que os mundos apresentados evocam tradições de tribos nórdicas e helênicas. Cada mídia, livro, filme, game, narra e é em si um arco narrativo. A análise, portanto, fundamenta-se na intermidialidade, como definido por Elleström (2017) e Clüver (2011), destacando as relações entre mídias distintas. As referências intermidiáticas, segundo Rajewsky (2012), contribuem para a significação total do produto ao evocar ou imitar elementos de outra mídia, sendo essenciais para a constituição do sentido.

I take up the map as a psychic instrument: not a mere representation of space, but a diagram of articulations between organism and sign, between blood and text, between placenta and myth. From the vantage of a posthuman cartographer—an atlas of minds folded into machines, microbes, and memorial tissues—I trace the groove of degeneration and adhesion, the semiotic necroses that populate our modern palimpsest. This essay reads disease as cartographic feature and parasite as mapmaker: adhesive substances, glycosylated residues, cyst cores and psychogametes become vectors that both inscribe and decode human meaning. In this refiguration, the map does not only record the world; it participates in its becoming. Maps are not inert. They breathe where blood once routed; they thicken where mucus congeals; they fray where language loses its grammar. To be a cartographer in the posthuman sense is to orient oneself by tides of circulation—literal and symbolic—and to accept that organisms write back. The groove is not merely an aesthetic trace but a topography of degeneration: a fold in the surface where adhesive necroses accumulate and where literature mutates into lesion. My task is to chart the interplay between bodies and texts, between the circulatory errors of a placenta and the ideological dimensions that valorize them. I proceed in three movements: first, a methodological sketch of posthuman cartography; second, readings of pathological features as semiotic and poetic operators; third, speculative reflections on how map-practices transform under multispecies co-authorship. A posthuman cartography borrows from clinical histology and mythic hermeneutics alike. Its instruments are microscopes and dream-books, sections and symbols. Methodologically I propose: Layered Sectioning. Take a cross-section of phenomenon: anatomical (placenta, gut, cerebrospinal fluid), microbial (protozoa, Anopheles cycles, physarum navigation), and symbolic (myth, stanza, ideological script). Each layer overlaps like geological strata. Semiotic Palimpsest. Read residues—glycosylated molecules, scar tissue, adhesive polysaccharides—as glyphs. These glyphs are not mere signs but performative acts: they inhibit, secrete, rewire. They are both symptom and lector. Transductive Navigation. Follow movement rather than boundary. Circulatory waves, tidal metaphors, and quantum respiration cases supplant static borders. Navigation becomes an encounter with flux: infection-as-trajectory. Interspecies Cartography. Treat “human” as one voice in a chorus. The rhesus monkey, the protozoan, the psychogametogen—each co-authors the map; each leaves topographic marks that must be read with humility. When adhesive substances congeal at the margins of tissues, they produce a literal and symbolic stickiness. Ideology too coagulates in margins: beliefs that valorize certain circulatory functions, or that read the placenta as metaphoric boundary, harden into social necroses. A historical, contested seam becomes an index where cultural adhesions and biological adhesions reflect one another. The necrotic placenta is not simply failed physiology; it is a landscape of signification where the community projects fears and hopes onto biological failure. Protozoan cysts and psychogametes—those hypothetical seeds of semiotic infection—function like stanza-forms in the body’s poem. They implant, they germinate, they rewrite. Consider the cyst core: a compacted grammar of survival. Within it, actin’s triple activation reads like a syntactic rule—threefold closure enabling motility, waiting, metamorphosis. The “medium of inhibition” is therefore not a mere biochemical brake but a rhetorical device: it pauses narrative so that another voice may begin. To map is not always to intend. Circulation produces waves that reorder relationships—tides that are not stripes but resonances. As circulatory waves reproduce informational relationships, they reveal that inoculation is less a purposeful cultural act than a distributed choreography of flows. The replicating eye—the organism’s capacity to see itself through structure and metaphysical cellular mouths—re-maps agency. We become embedded engineers, instruments of our own rearrangement. The brain no longer sits alone as sovereign. Multi-brainedness—networks of neuronal extension into peripheral tissues, into microbial consortia—creates heterogeneous cognition. Cartographically, this yields plural centers and divergent fugues: overlapping isogons where one cannot draw a single contour of self. The map therefore fractures into synchronies and divergences; these are the sites where infection and meaning meet. Physarum Navigation as Epistemic Practice. The slime mould’s path-finding is not merely for food—it is a model of navigation that privileges efficiency and redundancy over teleology. When human cognition takes physarum as model, our maps become rhizomatic: loops, redundancies, and resilient detours. Anopheles Cycles and Cultural Vectors. The mosquito is a cartographer of environments, carrying bits of one ecology into another. Mapping its cycles reveals social vectors: trade routes, settlement patterns, symbolic exchanges. Disease becomes vector and metaphor simultaneously. Hydrocephalus and Symbolic Redundancy. Fluid accumulation in the cranial vault replicates symbolic redundancy: the overflow of meaning where maps attempt to represent that which resists closure. Hydrocephalus is both a physiological crisis and a hermeneutic one: how do we condense excess into sign? If maps are to keep pace with the posthuman condition, they must learn to read adhesive residues, to measure tides rather than edges, and to listen for the whispering of microbes beneath the text. The cartographer’s instrument thus expands: scalpel and pen, microscope and mythos become interchangeable. The Moorish groove we began with is at once lesion and lexicon; it shows that degeneration can be productive of new grammars. To map posthumanity is to admit we are immunologically incomplete, semiotically porous, and coextensive with our parasites. This is not a melancholic loss, but an ethical and aesthetic charge: maps must facilitate co-becoming, not annexation. In the cartographic future I imagine, lines will not separate us from the other—they will be the sutures by which we learn to read one another’s languages: glycosylated, mucosal, encoded, dreamlike. The map thus becomes an act of fidelity to an ecology of meanings—an apparatus that honors the strange grammar of multi-species life.

Self-Reflexive Journey examines real-life, published accounts of popular eighteenthcentury travelers as a novel form of creative autobiography in which lived experience is translated as narrative experiment. As a subset of life-writing, the travelogue provides the occasion for authors to self-fashion their identities as traveling subjects and attempt to reconcile their personal and national identities with constant exposure to foreign customs and modes of thought. I argue that figurative and literal landscapes in eighteenth-century travel accounts function as a crucial site for the mediation of narrative identity, enabling the internal contestations of the evolving self to be enacted upon a global stage. The introduction elaborates upon the critical approach of the dissertation and discusses how Joseph Addison's meditation on Virgilian poetical "landskips" in Remarks on Italy (1705) iii anticipates his eponymous persona in The Spectator (1711-1712) by reconciling the literary past with the literal present. Chapter two examines the letters Lady Mary Wortley Montagu composed during her eighteenth-month sojourn to Turkey beginning in 1716, posthumously published as Turkish Embassy Letters (1763), and her correspondence relating to her residence in Italy from 1739 to 1762. I interrogate how Montagu's depiction of Turkey as the Elysian Fields in 1717, and her recapitulation of this metaphor to describe her departure for Italy twenty-two years later, serves as a paradigm for leaving behind her former English life and identity. In the third chapter I analyze James Boswell's use of the geographical feature of the isthmus to stand in for his intermediary identity as a post-Union Scot in An Account of Corsica (1768) and The Journal of a Tour to the Hebrides (1785). The dissertation concludes by exploring Mary Wollstonecraft's conflation of embosomed arboreal landscapes and the female breast in Letters Written During a Short Residence in Sweden, Norway, and Denmark (1796) to politicize her identity as a mother and travel writer within the Radical context of A Vindication of the Rights of Woman (1792). x VITA 2004 B.A., English (Honors), Psychology

This chapter reads Aleksandar Hemon's 2008 novel "The Lazarus Project" as revealing globalisation--the dominant force that determines and shapes the contemporary transmodern present--to be necessarily split in its consequences. It suggests that despite the ease with which some peoples across the globe can criss-cross through national and international boundaries, for most of the world's population, migration continues to be an extremely painful and difficult accomplishment. Hemon's novel utilises various narrative techniques such as juxtaposition, irony, intertextuality, and inter-mediality to establish resonances between early 20th-century Chicago and post-9/11 New York. The chapter close reads these techniques to argue that they make "The Lazarus Project" itself stand at the very limits of the textual, temporal, and spatial so as to make a significant political intervention in the transmodern present.

This report has been thought as a supplement to the article “Représentations diagrammatiques: perspectives cognitives et computationnelles” (C. Recanati, Intellectica n°40, 2005). We give here two detailed examples of the use of diagrams in human reasoning. The main part reports observations made on the strategy of players in the game of Master Mind.

Artykuł podejmuje próbę porównania dwóch zjawisk, które na pierwszy rzut oka wydają się odległe: fenomenu chińskich magicznych luster z okresu dynastii Han oraz procesu widzenia w ludzkim oku. W obu przypadkach istotą jest obecność ukrytej struktury, która nie jest bezpośrednio dostępna percepcji. W lustrze mikrogeometria powierzchni frontowej, zakodowana przez relief z odwrotu, ujawnia się dopiero dzięki działaniu światła jako obraz na ekranie. W oku odwrócony i fragmentaryczny zapis świetlny na siatkówce zostaje przekształcony przez złożone procesy neuronalne i świadomość w spójny obraz świata widzianego. Artykuł stawia hipotezę paralelną, zgodnie z którą oba systemy -choć odmienne materialnie i funkcjonalnie -można rozumieć jako urządzenia transformujące cień w światło znaczenia. Dyskusja wskazuje na podobieństwa strukturalne (ukrycie → transformacja → ujawnienie), różnice materialne (optyka vs. neurobiologia), potencjał badawczy metafory magicznego lustra w refleksji nad percepcją, a także ryzyko nadinterpretacji. Zaproponowane hipotezy i pytania badawcze mają charakter heurystyczny i mogą otworzyć przestrzeń interdyscyplinarnych badań nad relacją między światłem, percepcją a ukrytą strukturą rzeczywistości. Magiczne lustra Han; mikrogeometria optyczna; percepcja wzrokowa; siatkówka; predykcyjne kodowanie; transformacja obrazu; filozofia lustra; ukryta struktura; światło i świadomość.

Over twenty years ago, I began exploring my ancestry by searching my family name online. I knew for a fact that at least some of my ancestors had emigrated to North America. In a database of war deaths, I found a record of a woman with my family name who had once lived in Vyborg and had been killed shortly before the end of the Finnish Civil War. The brief database entry revealed only that she had been a Red Guard commander and had died of a gunshot to the abdomen. I was intrigued by her fate because Lecklin is a relatively rare name in Finland. I continued searching, but found no further information about her anywhere. Nobody in my immediate family had ever heard of her, and so my search came to a dead end.

I forgot about that woman for a long time.

When I later returned to the same database, the entry about her had mysteriously vanished. Having neither saved the web page nor taken a screenshot, I had no evidence of its existence besides the memory of having seen it.
About fifteen years later, the memory of that woman’s cruel fate and the missing archive entry flooded back to me as I began working on a series of short films and multi-channel video installations dealing with the Finnish Civil War. I returned to the same database once again, and wonder of wonders: the record of the woman’s death had reappeared, but in a modified form. Now the entry stated that she had died of a stray bullet, and there was no mention of her having been a Red Guard commander.

Este artículo investiga la fractura del tiempo contemporáneo en la obra Madre de corazón atómico de Agustín Fernández Mallo. Para ello se examina el formato fragmentado de la obra, el cual se presenta como una estrategia estética que busca reconstruir la identidad inherentemente incompleta del ser humano. Además, se consideran las digresiones sobre temporalidad que emergen del texto desde las aproximaciones teóricas de Martin Heidegger, las cuales facilitan un análisis de la cronología contemporánea en constante transformación. A partir de estas nociones, se profundiza en el uso disruptivo del tiempo en la obra, interpretándolo como una práctica memorialística productiva que no solo refleja la complejidad de la percepción temporal actual, sino que también actúa como un medio para la superación de traumas. Este enfoque permite comprender cómo el uso del tiempo en las autobiografías puede ofrecer una visión más profunda sobre la experiencia humana en el contexto contemporáneo

demographic disasters, next to the lack of gold coins coming in through taxes or the shortage of gold to pay soldiers, was to result in payments in land on the one hand and a reduction in the demand for luxury goods on the other. By the end of the seventh century, no administration or army was paid regularly in gold, and one must assume payment was . This loss of function of gold and silver coins as in specie commercial tools is directly related to the practice of hoarding or treasuring gold coins, and the effects on the meaning of gold and silver, especially within literature, are here very evident. Such a panorama, generalized in Western Europe, was mirrored in the Iberian Peninsula with a negligible numismatic contribution from the Visigothic period. At the fall of the Caliphate in 1031, the Taifa kingdoms EBSCOhost -printed on 4/14/2025 3:35 PM via COLUMBIA UNIVERSITY -MAIN. All use subject to

Le revêtement avant le revêtement L'imaginaire de l'éto e dans les Salons de Diderot Marie Schiele numéro 01 architectures textiles décembre 2024 (à paraître) table des matières texte Le revêtement n'est pas le costume -Braver la loi du costume -Revêtir ou l'art des bordures -Revêtir ou le refus de l'imprimé Le revêtement comme loi commune entre les arts ? « Mécanique des métiers » et peinture -Un exemple ambivalent : la tapisserie -Entre l'art de la teinture et l'art des pigments, une loi commune ? -Le revêtement ou la mise en évidence d'une unité matérielle entre les arts Revêtir sa robe de chambre -Écrire sur sa vieille robe de chambre, décrire l'usure -Le lustre du vêtement usé où se miroite la réflexion KUNST recherche

Durante l'Ottocento, il processo si invertì: la nazione conobbe sconfitte, disordini e lotte civili, ma la letteratura rinacque, iniziando un nuovo cammino che l'avrebbe portata a un'altra "epoca d'oro". La causa fu la rottura dell'isolamento in cui fino ad allora era rimasta chiusa la nazione. Benché in ritardo anche la Spagna fu investita dalla nuova corrente artistica che si affermava in tutta Europa: il Romanticismo.

This article re-reads Balzac’s La Comédie Humaine through the Hindu mandala, displacing Eurocentric critical paradigms that confine him to French realism. A decolonial lens highlights how the text’s concentric structures resonate with non-Western cosmologies, unsettling linear, hierarchical models of representation. Such a reading enacts epistemic disobedience by provincializing Europe’s literary canon and situating Balzac within a pluriversal imaginary that exceeds Western categories of thought.

En el siguiente artículo se analiza la red social Instagramcon el objetivo de servirnos de ella como medio para la didáctica de la poesía en español en las aulas de Primaria y Secundaria. No solo se atiende a la desautomatización (Víktor Shklovski) del género que nos ocupa, conocido como dificultismo por su herencia de las neovanguardias iberoamericanas (Alejandro Palma), sino que se sirve del lenguaje digital para la comunicación que de manera paciana se denomina era de la tradición de la ruptura (Alejandro Higashi). Con todo ello se ofrece un acercamiento didáctico a partir de poetas como Agustín Fernández Mallo, Vicente Luis Mora, Horacio Warpola, Andrea Alzati, Romina Cazón, Daniela Sol o Valeria Román.

This paper introduces Mushō, a contemporary practice of calligraphy that removes the written character in order to foreground breath, gesture, and silence. Emerging from the lineage of East Asian calligraphy - from the inscriptional traditions of ancient China to the spiritual discipline of Japanese Shodō - Mushō positions itself both within and beyond this history.
Where calligraphy has traditionally functioned as a language of meaning, Mushō proposes a language of silence. It retains the tools of brush and ink but releases them from the obligation of representing words. Each stroke becomes the trace of a breath: inhale, pause, exhale. The result is not text to be read, but presence made visible.
Mushō extends the avant-garde trajectory of twentieth-century calligraphic movements, particularly the work of Morita Shiryū and the Bokujin-kai group, who dissolved the boundary between character and abstraction. Yet it moves further still, eliminating the character altogether to treat silence itself as a script.
By reconceiving calligraphy as an art of absence and unbinding, Mushō offers a radical reimagining of what it means to “write.” It is not a rejection of tradition but an evolution: writing nothing, yet revealing everything.

O ensaio é um comentário à série Munch, de Nuno Ramos, criada em 2011. Trata-se de um conjunto de 78 desenhos feito em explícito “diálogo” com a obra de Edvard Munch, artista norueguês considerado um dos mestres do expressionismo. Aqui, proponho que o princípio operatório do artista se baseia não na mimese, mas sim no mimetismo. Ou seja, baseio-me numa compreensão da arte que a distancia das noções da representação (o valor do modelo ou do original) para aproximá-la da função de um medium: espaço plástico onde se dá a ação da “lei da semelhança”, espécie de dom e de dano que nos abre, diante da natureza e da cultura, para o profundo abismo de nossas fundações.
Disponível em: https://periodicos.sbu.unicamp.br/ojs/index.php/mod/article/view/8679776

What follows here is wIdeopoezja MANIFeST, the Polish version of Videopoetry: A Manifesto, translated by Dawid Kujawa. On May 28, 2025, I received the translation with a note explaining that he is sending me a doc.file of a book he published in 2014, WideopoEzja Szkice / Videopoetry: Sketches published by and available from Stowarzyszenie Inicjatyw Wydawniczych Katowice (Katowice Publishing Initiatives Association), pl. Sejmu Śląskiego 2
stowarzyszenieiw@gmail.com

Further, he wrote that, in the Appendix, I will find a Polish translation of my manifesto.
To provide the minimum of contexts, I am prefacing the translation with a brief excerpt from from the Introduction to his 150-page book, WideopoEzja Szkice, (Wstęp)

This specific article intends, with a hopeful thought, that one will recollect the article The Structure of the Chinese Characters (III),  as the content is determined to be a continuation of my former explanation of the Ancient Characters. The desired purpose is to reveal some useful information on the structure of the Current Characters, therefore bringing certain clarity about this topic as a whole.

Keywords: Current Characters, Phonogram

The present article is a section from a larger study entitled The History and Culture of the Chinese Characters and serves as a continuation to my second article named The Evolution of Chinese Characters (II). The article aims to provide the reader with a short background on the methods used in order to create the Chinese Characters. I will
mainly refer to the Ancient Characters, thus leaving the Current Characters for another detailed explanation. The
foundation of the article lays on the contribution or Xu Shen brought to the development of the characters.

Keywords: Ancient Characters, Xu Shen, “The Six Methods”, Single-Component Characters, Composed Characters

This paper offers an in-depth analysis of Luca Ronconi’s Troilus and Cressida, a production that premiered in 2005 as part of the 10th edition of the Europe Theatre Prize and the ambitious Domani project. Drawing upon unpublished materials such as production notes, stage designs, and the original script, the presentation examines how Ronconi’s decision to blur the boundaries between war and personal struggle created a space where the external conflicts of the Trojan War reflected the internal battles of self-perception and disillusionment. By integrating specific elements of stage design into the discussion, this paper seeks to uncover how Ronconi’s distinctive directorial approach reshaped Shakespeare’s classical narrative into a meditation on the fragmentation of identity in a modern world. The paper also situates Ronconi’s production within the broader context of his work, which often prioritises psychological depth over physical action, highlighting the disintegration of language and communication. Additionally, it explores how his unique use of space and symbolic imagery emphasised the isolation of the characters, reinforcing the themes of alienation and moral ambiguity. By analysing key scenes and character dynamics, this presentation argues that Ronconi’s Troilus and Cressida transcends the historical setting of the Trojan War, offering a timeless exploration of the erosion of identity, love, and agency in the face of institutional decline and sociopolitical collapse.

O artista húngaro Kázmer Fejér costuma ser lembrado por sua participação na mostra inaugural do grupo Ruptura, no Museu de Arte Moderna de São Paulo, em 1952, e pela atuação junto ao movimento de arte concreta brasileiro. Este artigo analisa suas atividades na Hungria, entre 1946 e 1948, quando integrou o Grupo de Artistas Abstratos
de Budapeste, sob a liderança do crítico húngaro Ernö Kállai. Neste período, Fejér atuou como secretário do grupo, publicou textos teóricos e colaborou com a organização de duas exposições. Partindo da análise de fontes primárias, a pesquisa apresenta a relação intrínseca das pinturas de Fejér com o conceito de bio-romantismo, teoria desenvolvida por Kállai que balizou a produção abstracionista na Hungria no pós-guerra. Apresento as circunstâncias políticas que fizeram Fejér deixar seu país em direção à América Latina, em 1948, e sua passagem por Montevidéu, antes de se instalar em São Paulo, em 1949. O texto relaciona o desenvolvimento da arte concreta no Brasil com a emergência de associações artísticas que apoiaram o abstracionismo na Europa, no imediato pós-guerra. Ao abordar as origens transnacionais do grupo Ruptura, busca-se ampliar as perspectivas de análise da arte concreta no país.

Este ensaio visual descreve os processos artísticos empenhados na transformação da escrita diarística em livro de artista, iniciado no dia 23 de agosto de 2022 e concluído no dia 11 de novembro de 2023. Nomeado como Esse que sou eu em transformação, é continuidade de outro diário, Esse que sou em expurgo o qual subsiste como diário. A proposta surge na disciplina Formas de Narrar: Entre Imagem e Escritura cursada na linha de Processos Artísticos Contemporâneos no ano de 2022.2 no Programa de Pós-Graduação em Artes Visuais-PPGAV no Centro de Artes, Design e Moda-CEART-UDESC, em que foi sugerido pela Profa. Dra. Marta Lúcia Pereira Martins que os estudantes adquirissem dois meios de escritura: o primeiro serviria para anotações e ideias, o segundo para o desenvolvimento destas na forma de texto ficcional correlata à imagem. Decidiu-se por comprar um caderno escolar pequeno para as anotações, e outro caderno sem pauta, costurado, de capa dura preta, com oitenta folhas brancas de gramatura 90g/m² no formato retangular de 14,5 x 20,3 cm para o texto ficcional. O caderno de anotações se manteve como tal, e o ficcional foi usado como diário. O desafio autoproposto no ensejo, de mudar o status de diário para livro de artista, conjuga-se a minha relação com a escrita desde a pré-adolescência, das vivências pessoais e dos atravessamentos teóricos nos campos da Teoria da Imagem, História da Arte e Cultura Visual no que tange a relação entre imagem e palavra. Intersecciona-se aos estudos de gênero e deficiência que relacionam a gagueira como uma oportunidade de perturbar o "tempo do homem branco hetero" estabelecendo outras maneiras de comunicação. Na imbricação destes condicionantes desenvolveram-se práticas visuais que borram as fronteiras entre o confidencial e público, imagem e palavra, diário e livro de artista. Ao todo são identificadas cinco práticas visuais das quais se destaca a primeira, por evidenciar o início de um processo de intervenção que se desdobrou numa série de poemas nomeados como Apagamentos e Retorno e na publicação de conto no livro de artista CarRoussel (2023); destaca-se, também, a quinta prática visual por ressaltar a função primordial do diário que é receber de maneira visível a fala que é emudecida na impossibilidade oral. Subscreveu-se em camadas o primeiro texto, feito em grafite, com um segundo texto em caneta esferográfica azul e um terceiro texto com esferográfica preta. Ao realizar isso, se pensou na escrita enquanto um processo de sincronização do pensamento e da fala na abstração da escrita. Não se buscava mais visualizar a escrita na sua legibilidade textual, caligráfica e alfabética, mas sim, percebê-la enquanto uma forma abstrata correspondente do pensamento e da fala: uma descaligrafia, uma disgrafia. Para isto, foi preciso mudar o gestual de escrita e pensá-la enquanto grafia em movimento. As práticas aqui listadas e seus desdobramentos expõem como um diário se transformou em livro de artista, reforçando seu caráter pictórico e imagético. Explicita-se que a última prática listada constitui investigação atual do autor que a desenvolve em outros formatos.

ale ponieważ nikt nie słucha, trzeba zawsze zaczynać od nowa. W Metamorfozach Owidiusza został przedstawiony jako syn Cefiza (Kefisosa) i Liriope . Kiedy przyszedł na świat, rodzice zapytali Tejrezjasza o jego przyszłość . Wieszczek miał im odpowiedzieć, że nowo narodzony dożyje późnych lat, "jeżeli sam siebie nie pozna" 2 . Gdy dorósł, był tak urodziwy, że kochało się w nim wiele kobiet i nimf, lecz on, powiada antyczny poeta, "zimny był na miłość, głuchy na westchnienia" . Uczuciem zapałała doń również nimfa Echo, która "ni pierwsza mówić, ni milczeć nie umie" . Spostrzegła go w lesie, błądzącego między drzewami i dopóty powtarzała jego słowa, dopóki -zaintrygowany -nie zawołał: "Tu się zejdźmy" . Kiedy ujrzał ją twarzą w twarz, wykrzyknął: "Śmierć raczej […] niż Twoje uściski! Nigdy cię nie pokocham" . "Kocham" -odrzekła Echo, ale widząc jego wzgardę, zraniona i nieszczęśliwa "w las ucieka, twarz spłonioną kryje" . Nimfy zanoszą do bogów korną prośbę: niech on także zazna wzgardy i męki bezwzajemności . Ich modły docierają do uszu Afrodyty (lub Nemezis), ta zaś sprawia, że podczas polowania utrudzony młodzian nachyla się nad źródłem i zakochuje we własnym odbiciu . Czytamy u Owidiusza: Pijąc, własnej piękności odbiciem się łudzi, Kocha obraz bez ciała, w czczym się kocha cieniu . Niewzruszony jak posąg, cały w zadumieniu, Patrzy się, nachylony nad przejrzystą wodą . Niebaczny, sam się swoją zachwyca urodą . […] Podziwia wszystko, w czym sam godzien podziwienia, Sam jest celem swych pochwał i swego pragnienia . W jednej osobie razem i pali, i płonie . Ileż razy wyciąga ku krynicy dłonie! Widząc w wodnym zwierciadle cel swych życzeń bliski, Czcze tylko zimnej wodzie przesyła uściski . Nie pojmuje, co widzi, lecz widok go wzrusza, Czarowną oczu złudą zapala się dusza . Nieszczęsny, złudną marę gonisz w złej godzinie! To, co widzisz, jest niczym . Odwróć się, a zginie . Obraz, widziany w wodzie, twoim jest obrazem . Nic własnego on nie ma, ożył z tobą razem, Z tobą razem by zniknął, gdybyś odejść zdołał . Ów młodzian, o którym opowiada autor Tristiów, to Νάρκισσοσ, Narcissus, Narcyz . Ten, który umarł z tęsknoty za samym sobą i nawet w styksowych wodach szukał własnego odbicia . W miejscu, gdzie rozstał się z życiem, w pobliżu krynicy, która nie mogła ugasić jego pragnienia, wyrósł niewielki "kwiat złoty, liśćmi uwieńczon białemi" . Linneusz nazwie go Narcissus poeticus ("narcyz poetów", "narcyz poetycki"), albowiem od czasów Owidiusza kwiat ów na trwałe zagości w literaturze europejskiej, podobnie jak nieszczęsny syn Kefisosa i Liriope z mitologicznej opowieści . Mit o Narcyzie szczególnie intensywnie będzie wyzyskiwany na przełomie wieków XIX i XX, upodobają go sobie parnasiści i symboliści . Odwołania do starożytnej opowieści i jej twórcze przetworzenia pojawią się m .in . w twórczości Paula Valéry, André Gide'a i Rainera Marii Rilkego . Jeszcze popularniejszy okaże się motyw odbić, przeglą-

Dans “Anti installation”, Jordi Ballesta et Geoffroy Mathieu associent la géographie et la photographie pour rendre visibles un ensemble d’espaces rendus inhabitables et surveillés. Ils montrent comment ces interstices constituent en réalité des « opérations urbaines », allant de l’enrochement à l’excavation.
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Recensé : Jordi Ballesta et Geoffroy Mathieu, Anti installation, entretiens avec Joëlle Zask et William Acker, postface de Philippe Artières, Paris, Building Books, 2023, 224 p., 92 photographies couleur.

Le poète français Stéphane Mallarmé avait coutume d’offrir des éventails aux dames de son entourage et de les personnaliser par un poème manuscrit. Anna Rodenbach, la femme de l’auteur de Bruges-la-Morte, n’a pas fait exception. À suivre le quatrain, l’on a presque l’impression que la meilleure part de l’œuvre de Georges Rodenbach, sa part silencieuse, vouée à rester inédite, émane de la muse que semble incarner Anna… Qui est Anna Rodenbach, veuve pendant près d'un demi-siècle ? Est-elle seulement une femme de ?

The map's cognitive possibilities and limitations are already implicit in the Icarian myth and can be illustrated by this remark of Italo Calvino's: "Discovering the New World was a very difficult undertaking... But once the New World was discovered, it was even more difficult to see it, tovunderstand that it was new." As the basic filter both for discovering and interpreting this world, maps uniquely charted the first face-off between the cultural grammars of two different hemispheres. Columbus's cartographic knowledge represented a sophisticated technological culture. His theoretical acumen was enriched above all by Claudius Ptolemy, whose Geographia displayed a superior kind of geo-graphein in comparison to the Indigenous peoples's more direct, ancestral, physical understanding of the earth. Contrary to the European explorers, the Indians were never frustrated by their mimetic "bondadge" to the topographical order nor cared to give much thought to the type of theoretical eye behind the European cartographic presence.

In 1967 Franco Simone (1913-1976), founding editor of the journal _Studi Francesi_ published a  collection of essays, _Miscellanea sul Quattrocento francese_ on the French 15th century, the liminal  period of the Renaissance in France. The present sequel, _Seconda Miscellanea_, contains twelve  contributions by distinguished scholars, assembled by Franco Simone during his years at Harvard in the 1970s.
Focusing on art, literature, and politics, the collection includes five essays on Christine de Pisan, her writings, her intellectual milieu, and the early feminist texts in the pro- and anti-female Querelle de la  Rose ; an analysis of Eustache Deschamps’ notoriously misogynist Miroir de mariage ; and a study of  the image of women in the proverbs of the French comic theater. The remaining five essays examine the iconography of medallions of the Duc de Berry ; various editions of Renaissance rondeaux; the  emergent interest in antiquity as manifested in a mid-fifteenth century epitaph by Jacques Milet ;  François Villon’s satirical feminization of proper names in the Testament; and Montaigne’s ill-natured  refusal to acknowledge his literary debt to Philippe de Commynes. Forewards by Enrica Simone Forni  and editors G. Mombello and J. Beck provide perspectives on this contribution to European Humanism..  Authors: J. Beck (preface), G.H. Bumgardner, J. Demers, J. Dufournet, M. Engel, M. Françon, E. Hicks,  L. Inz, G. Mombello, C. Reno, M.N. Rosenfeld, C. Schaefer, E. Simone Forni, T.E. Wareham, C.C.  Willard.

The topic of the body, gender and sexuality as part of the discourse of the High and Late Middle Ages has been the subject of research by Western and Western-oriented scholars for several decades, and visual culture has been an integral part of it. The body of Christ, divine and human, mortified and resurrected, painful, sacrificial, procreative and sexual, is a pillar among the visual representations of the Christian Middle Ages. The vision of his body, present and past, is the subject of the present paper, which thematizes the intersections between sacred and erotic seeing/reading/contemplation, et cetera, of Christ’s corporeality as a whole or its individual parts. It is Christ’s side wound that presents a rich area for the interpretation of the associations and practices that a medieval viewer might have adopted towards the image of the saviour. The strict heteronormative subtraction of the sacred body is thus confronted with visions of medieval monasticism and priesthood, metaphors and models of identification, private and lay piety, or apotropaic functions that offer a particular view of Christ’s body as transcending gender. In contrast to medieval thought, however, we also work with the vision of today’s viewer, whose view of ancient art may be queer. By juxtaposing such perspectives, we aim to take research in new directions in the study of medievalism – towards a queer medievalism.

Bu makalede, eğitsel oyunların ve etkinliklerin yabancı dil öğretiminde kullanımı ve yöntemleri üzerinde durulmuştur. Yabancılara Türkçe öğretiminde kullanılabilir oyunların sınıf içerisinde nasıl uygulanması gerektiği konusuna örnekler eşliğinde değinilmiştir. Eğitsel oyunlar başlığı altında iletişim oyunları, dil bilgisi oyunları, telaffuz oyunları ve uzaktan eğitim ile çevrim içi oyunlarla ilgili bilgiler verilmiş ve bu oyun türleri örnekler verilerek detaylıca açıklanmıştır. Açıklanan bu oyunların sınıf içerisinde nasıl ve neden uygulanması gerektiği konusu vurgulanmıştır. Çalışmada ele alınan oyun ve etkinliklerin öğrencilerin dil gelişimi üzerindeki etkisi konusuna değinilmiştir. Ayrıca bu uygulamalarda hem eğitici hem de öğrenci rolünün ne şekilde oluşturulması gerektiği belirtilmiştir. Bu çalışma, yabancı dil olarak Türkçe öğretiminde iletişim, telaffuz, dilbilgisi ve öğrenci dikkatini sağlama gibi konularda sorunlar yaşayanlara yardımcı olacak önemli bir çalışmadır. In this article, the use and methods of educational games and activities in foreign language teaching are emphasized. The subject of how the games that can be used in teaching Turkish to foreigners should be applied in the classroom is mentioned with examples. Under the title of educational games, information about communication games, grammar games, pronunciation games, distance education and online games are given and these types of games are explained in detail by giving examples. It was emphasized how and why these games should be applied in the classroom. The effect of the games and activities discussed in the study on the language development of the students was mentioned. In addition, in these applications, it was stated how both the educator and the student role should be created. This study is an important study that will help those who have problems in teaching Turkish as a foreign language, such as communication, pronunciation, grammar and student attention.

Performar papers, este número 8 de la revista ¬Accesos que tienes en tus manos, comenzó a pensarse en febrero de 2022. Desde su origen, quisimos coordinar una propuesta que aprovechara el potencial experimental de la revista y, a su vez, respondiera críticamente a la lógica
hegemónica del paper, donde cristalizan un conjunto de normas, códigos y estándares que condicionan y asfixian la práctica de la escritura de los resultados de investigación. Creemos firmemente que las formas de investigación están indefectiblemente ligadas a la performatividad de su
escritura y, por ello, nos planteamos cómo las prácticas epistémicas contemporáneas pueden expandirse gracias a las nuevas posibilidades abiertas por las prácticas de la tecno-escritura multimedia, el
holopoema, el video-ensayo, la IA, el videojuego, la partitura performativa, el comic audiovisual o el guion cinematográfico. Sin duda, poner el foco en la perfomatividad nos ha permitido dar cabida a una
diversidad de producciones y procesos de investigación difíciles de encajar adecuadamente en revistas académicas convencionales debido a su carácter híbrido y transdisciplinar, enclavado entre la praxis de la escritura (concebida en términos amplios, más allá del código alfanumérico), el quehacer artístico y la labor investigativa. En suma, Performar papers apuesta por mostrar lo que se suele ocultar en el paper, esto es, la cocina de la investigación a la vez que reivindica la expresión de estructuras no-lineales y la exploración de prácticas de heteroescritura en la investigación.

What do we know about the (voluntary) practice of tattooing in eighteenth-century Europe? Was it entirely extinct before Cook’s sailors (re)discovered it in Polynesia, as historiography still often claims? Or was tattooing already practiced by certain individuals or even social groups? The sources uncovered and analyzed in this article – primarily French and Italian – support the latter hypothesis. In mid-century Venice, demand from sailors and soldiers was sufficient to support at least one full-time tattooer. The repertoire was also more developed in Italy than in France, with numerous figurative and symbolic motifs often applied using stamps. This technique may have been used to tattoo two Rhône boatmen in 1757, a well-documented case that suggests a connection to Italian practices through maritime trades.

In János Pilinszky's poetry, the trope of “seeing” is the basis of textual constructions which, on the one hand, expresses the awareness of the impossibility or unreliability of visualising the invisible. On the other hand, several of Pilinszky’s poems also give an account of the destructive functioning of vision: the suffering caused by the pathological fixation of the gaze, and the torment of self-contempt and emptiness that takes the place of healing reciprocity. Therefore, Pilinszky’s religious beliefs, which are of decisive importance, don't presuppose, but project forward the hope of the ultimate “seeing” as an eschatological event transcending personal and historical time.

This study (The Absolute of Shadow: Theodicy in Imre Kertész’s Work) attempts to establish a connection between some of Kertész’s writings and the religious reflections on the Shoah echoing (at times polemically) the writer’s thinking and poetics.

BONN, West Germany (A P ) — Chancellor Helm ut Kohl's con­ servative coa lition, pledged to deploy NATO nuclear missiles in W estern Europe, swept to a solid v ic to ry in yesterday's parliamentary elections. The executive secretary o f HansJochen Vogel’s opposition Social Democrats, Peter Glotz, conceded less than an hour after the polls closed, saying his party “ d id not reach its goal.” Horst Emke, deputy chairman o f the party ’s parliam entary caucus, said: "W e have to congratulate the CDU fo r a clear e lection v ic to ry .” The main dom estic issue was the economy, gripped by recession and high unem ploym ent, but in terna­ tional a ttention focused on the debate over deploym ent o f U.S.made nuclear missiles in West Ger­ many and o ther NATO countries. Kohl and his allies support NATO’s decision to deploy 572 m edium range cruise and Pershing 2 missiles in Western Europe la ter this year — 204 o f them in West Ger­ many — unless an arm s-control agreement is r...

Depuis la deuxième moitié du XX e siècle et le tournant du millénaire, pourquoi se multiplient des figures de la folie et du féminin dans le paysage littéraire haïtien ? En remarquant les grandes tendances qui font coïncider l'expression de la catastrophe, de la défaite du sens et l'apparition de personnages et de figures féminins majeurs dans des oeuvres de tous genres, mon interrogation porte sur la folie, la marge et le féminin dans la littérature haïtienne contemporaine en tant qu'expressions concourantes de la dissemblance. Je me penche ainsi, dans des oeuvres marquantes, sur le jeu rhétorique des postures de la dissemblance et la manière dont elles pointent depuis le texte vers un au-delà de l'oeuvre, soit ce qui en elle indique l' «espace ménagé» de sa propre faillite ainsi que le travail de la lecture et de la création. Pour cela, il a fallu, à partir des limites (de l'oeuvre, de la norme), construire une réflexion capable d'aménager aussi l'espace de sa propre contestation. Dans le premier chapitre, à partir du récit fondateur « Folie », de Marie Chauvet, je pose le problème de la folie en me penchant sur les configurations inaugurales qui me semblent mettre la scène du littéraire contemporain haïtien. J'en profite pour préciser l'approche rhétorique qui me permettra d'aborder les textes littéraires, tout en réfléchissant sur les enjeux théoriques posés par une lecture de la folie comme absence d'oeuvre. En m'appuyant sur Chauvet et sur les travaux de Felman, je définis les modalités d'une lecture impliquée. Dans le second chapitre, je brosse un portrait complexe du contemporain haïtien, tel qu'il est médié et rendu à travers les « anthologies » essentielles de Davertige et de Frankétienne. Ces deux oeuvres sont l'occasion de poursuivre une interrogation sur les limites en remarquant les formes et les enjeux mobilisés dans le littéraire par les élaborations de la marge, de la mémoire traumatique et de la folie. Une telle approche est aussi l'occasion d'une réflexion de fond sur le contemporain haïtien, abordé d'emblée comme panorama et comme problème façonné et façonnant des sujets d'écriture. Enfin, dans le troisième chapitre, je me penche sur les filiations larvées qui permettent aux configurations précédemment décrites de persister, alors que le féminin, comme dissemblance, négocie sa place du côté de la marge ou de la folie, dans les textes plus récents de Jan Dominique et de Lyonel Trouillot. Les réflexions que je propose sur les destinations, sur l'oeuvre impossible ou absente (Foucault) me permettent de distinguer les processus de différenciation spécifiques de la marge et de la folie, mais surtout d'apercevoir, au coeur du texte littéraire, la folie comme l'absence essentielle où se risque et se joue la création. Le dissemblable devient alors cet objet fuyant d'une lecture impliquée dans laquelle, le regard critique s'adossant à une écriture littéraire chargée d'en interrompre systématiquement le flux, constitue en effet ce « moment insolite de la théorie» (Felman), qui, dévoilant son propre jeu rhétorique, maintient la théorie en échec tout en la faisant parler. Folie  Marges  Féminin  Création littéraire  Littérature haïtienne  Contemporain  Mémoire traumatique  Absence d'oeuvre  Dissemblable  Texte impossible.