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Resumen: La conceptualización de las relaciones entre Virgilio y Dante ha sido uno de los temas más investigados en los estudios de tradición clásica y de literatura comparada. La visión que se ha impuesto desde el siglo XIX es la de Domenico Comparetti, quien acuñó el concepto de ''tradición clásica'' y afirmó que Dante había ''purificado'' la imagen popular y legendaria de Virgilio. Pero a lo largo del siglo XX, también se han ensayado otras perspectivas críticas que se distancian del esquema propuesto por Comparetti. En este artículo, realizamos un análisis del virgilianismo medieval: las corrientes estéticas, filosóficas y teológicas que presentaron en la Edad Media ciertas imágenes de Virgilio. La Commedia de Dante puede explicarse como una síntesis de las corrientes principales del virgilianismo medieval. Dante considera a Virgilio un maestro, pero también un autor pagano, por lo que lo somete a un juicio crítico. La conclusión es que Dante fue capaz de unificar en su poema la visión profética de Virgilio de los autores eclesiásticos con la visión legendaria de la tradición popular, la cual representaba al poeta mantuano como una especie de mago o adivino. Abstract: The conceptualization of the relationship between Virgil and Dante has been one of the most investigated topics in classical tradition and comparative literature studies. The view that has prevailed since the nineteenth century is that of Domenico Comparetti, the coiner of the concept of ''classical tradition'', who claimed that Dante had ''purified'' the popular and legendary image of Virgil. But throughout the twentieth century, other critical perspectives have also been practiced that differ from the scheme proposed by Comparetti. In this article, we analyze medieval Virgilianism: the aesthetic, philosophical, and theological trends that presented certain images of Virgil in the Middle Ages. Dante's Commedia can be explained as a synthesis of the main trends of medieval Virgilianism. Dante considers Virgil a mentor, but in a certain way, he also considers him a heathen author to whom he submits a critical judgment. The conclusion is that Dante is capable of unifying the prophetic vision of Virgil in his poem, held by ecclesiastical authors with the legendary vision of the popular tradition that represented the Mantuan poet as a kind of magician or soothsayer.

The area where literature, art, music, religion, spirituality, and philosophy split off from, run parallel to each other, and merge again is like a delta. This essay explores the complex interrelations between art and spirituality on three levels. First on the level of spiritual experience, exemplified by experiences of the art of still life (the painter Morandi, the poet Kopland). On the second level, several questions about meaning are analyzed, beginning with the question of meaning posed by the work of art itself. Both art and spirituality presuppose an open and receptive attitude. In philosophical reflections on the meaning of art, some aim primarily at its relevance for our insight into the reality of things, people, and animals, while others are more concerned with its significance for human action. Thirdly, some problems on the level of research are discussed. Research invites us to come to a critical relativization of what we have seen, heard, or read and also allows us to see that the often presupposed ‘immediacy’ of our experience is in fact mediated by pre-given schemes and habits. Three reasons are given to answer the question why it is meaningful to research these mediations and to search for the authentic meanings of art works (in particular works of literature) themselves.

As we all know – art is what we find in museums and – with the exception of statues of rulers and warlords in city squares – life is everything else. But wait! Not everyone viewed things in exactly the same way. The Group for Organic Culture visited different places in the city of Petersburg/ Petrograd/ Leningrad to make observations. One such place was the steps down to the water in front of the Academy of Arts. One day a conventional academy-professor saw them there and became outraged: "They sat with their backs to the river painting it." The spot however, was well chosen. What did they see? Oddly, there were (and still are) two stone sphinxes. What are Egyptian sphinxes doing in northern Europe? Why in St Petersburg? And why this location? What did they see from between the sphinxes on the steps down to the river Neva? From the well-chosen spot between the Egyptian sphinxes, they saw a panorama of tasteful palaces. They practiced vision with a 360° angle. But to be able to see what happened behind your back also meant having to be vigilant. Names mentioned in the text (in order of appearance): Albert Benois, Ivan Pavlov, Mikhail Matiushin, Ender siblings – Boris Ender, Ksenia Ender, Maria Ender, Yuri Ender, Nikolai Grinberg, Elena Guro, Napoleon, Tsar Peter the Great, Karl Marx, Lenin, Stalin, Trotsky, Empress Catherine the Great, Denis Diderot, Kazimir Malevich, "Seryi" - Grigorii Ginger, Herostratus, Evgenii Kovtun, Nikolai Punin, Rembrandt, Angelica Zander Rudenstine, Natalia Murray, Andrei Zhdanov, Putin, Russian Tsar Alexandre, Kirov, Gustav Eiffel, Tolstoy, George Costakis. As we all know – art is what we find in museums and – with the exception of statues of rulers and warlords in city squares – life is everything else. But wait! Not everyone viewed things in exactly the same way. The Group for Organic Culture visited different places in the city of Petersburg/ Petrograd/ Leningrad to make observations. One such place was the steps down to the water in front of the Academy of Arts. One day a conventional academy-professor saw them there and became outraged: "They sat with their backs to the river painting it." The spot however, was well chosen. What did they see? Oddly, there were (and still are) two stone sphinxes. What are Egyptian sphinxes doing in northern Europe? Why in St Petersburg? And why this location? What did they see from between the sphinxes on the steps down to the river Neva? From the well-chosen spot between the Egyptian sphinxes, they saw a panorama of tasteful palaces. They practiced vision with a 360° angle. But to be able to see what happened behind your back also meant having to be vigilant. Names mentioned in the text (in order of appearance): Albert Benois, Ivan Pavlov, Mikhail Matiushin, Ender siblings – Boris Ender, Ksenia Ender, Maria Ender, Yuri Ender, Nikolai Grinberg, Elena Guro, Napoleon, Tsar Peter the Great, Karl Marx, Lenin, Stalin, Trotsky, Empress Catherine the Great, Denis Diderot, Kazimir Malevich, "Seryi" - Grigorii Ginger, Herostratus, Evgenii Kovtun, Nikolai Punin, Rembrandt, Angelica Zander Rudenstine, Natalia Murray, Andrei Zhdanov, Putin, Russian Tsar Alexandre, Kirov, Gustav Eiffel, Tolstoy, George Costakis.

In this article, I draw on critical investigations of gendered, racialised and sexualised discourses on Islam and Muslim minorities in Western Europe to explore two recent instances of Muslim female intellectuals and artists responding to what has been dubbed “the Muslim question”. I shall show that Muslim women’s counter-voices are multilayered, conveyed through various means, and context-dependent, as well as dependent on intersectional marginalised positionalities. My goal is to theoretically rethink the feminist methodology of ‘talking back’ on the basis of the complex ways in which Muslim women establish modes of critique.

Acompanha: Etegami: possibilidades de diálogo com a arte do cartão-postal japonês. Observando no dia a dia escolar que, apesar do grande acesso à informação e à tecnologia, os estudantes pouco leem, pouco escrevem e pouco sabem o que fazer com tantos dados e ferramentas - consumindo-os, mas sem absorvê-los de forma sensível e crítica –, estando, portanto, justificada a presente investigação, indaga-se: “Como incentivar a formação leitora e de letramento (literário e artístico) dos alunos?”. “Pode a Arte se tornar efetivamente uma linha de costura que cria conexões/bordados com as outras disciplinas escolares?”. “A cultura japonesa tem potencial para contribuir com as práticas de ensino, nas salas de aula da rede pública?”. Com tais questionamentos, objetiva-se, neste trabalho, conhecer e compreender a arte do cartão-postal japonês – etegami – e seu lema “Pode ser desajeitado; o desajeitado que é bom” (no sentido de liberdade artística, de não haver um modelo), como uma expressão artística que pode auxiliar no letramento e na sensibilização artística dos estudantes brasileiros. Ainda visa-se: indicar a prática do etegami para a formação continuada dos docentes, no que se refere ao diálogo entre diferentes linguagens; buscar o letramento deles e de seus alunos, bem como valorizar a sua humanização, no sentido proposto por Candido. Metodologicamente, trata-se de uma pesquisa-ação, bibliográfica e de caráter qualitativo, sendo norteada, principalmente, pelos estudos de Koch e Elias, Candido, Certeau, Cosson, Manguel, Kleiman, Kristeva, Samoyault, Clüver e da etegamista conhecida como Dosankodebbie (Deborah Davidson), assim como pelos conceitos de interartes, intermidialidade e intertextualidade. Os estudos realizados resultaram na produção de um Curso de formação, para professores da rede básica de ensino e para alunos do ensino médio - magistério, intitulado “Etegami - possibilidades de diálogo com a arte do cartão-postal japonês” e do website-material deste curso: “Diálogos com Etegami”. Considerando que não basta apenas letrar os alunos, mas também os professores, foi desenvolvido esse produto educacional voltado para os docentes e atentou-se para suas principais dificuldades. Também houve a opção por leituras, reflexões e sugestões de atividades práticas, que, após serem vivenciadas durante o curso, poderão ser incluídas na práxis do professor. Observing in school daily life that, despite the great access to information and technology, students read little, write little and little know what to do with so much data and tools - consuming but without absorbing them in a sensitive and critical way-, therefore, the present investigation is justified, it is asked: “How to encourage the reading and literacy training (literary and artistic) of students?” , "Can Art effectively become a sewing thread that creates connections/embroidery with other school subjects?" and "Does Japanese culture have the potential to contribute to teaching practices in public school classrooms?" . With such questions, the objective of this work is to know and understand the art of the Japanese postcard - etegami – and its motto “It's fine to be clumsy; it’s the clumsy that is good” (in the sense of artistic freedom, of not having a model), as an artistic expression that can assist in the literacy and artistic awareness of Brazilian students. It also aims to: indicate the practice of etegami for the continued formation of teachers, regarding the dialogue between different languages; seek their and their students' literacy, as well as to value their humanization, in the sense proposed by Candido. Methodologically, this is an action research, bibliographic, and of qualitative nature, guided mainly by the studies of Koch and Elias, Candido, Certeau, Cosson, Manguel, Kleiman, Kristeva, Samoyault, Clüver and the etegamist known as Dosankodebbie (Deborah Davidson), as well as by the concepts of interarts, intermidiality and intertextuality. The studies resulted in the production of a training course, for teachers of the basic education system and for high school students, entitled “Etegami - possibilities of dialogue with Japanese postcard art” and the website-material for this course: "Dialogues with etegami". Considering that it is not enough to only teach students, but also teachers, the educational product was developed focusing on the teachers and paying attention to their main difficulties. There was also the option for readings, reflections and suggestions for practical activities which, after being experienced during the course, may be included in the teacher's praxis.

RESUMEN: Esta investigación parte de un recorrido alrededor de la literatura fantástica en el ámbito de la narratividad transmedia, así como de las formas que este género ha adoptado en un mundo cada vez más conectado y complejo, en el que lo digital afecta la manera en que se materializan las narraciones. Por ello, el caso de estudio se centra en el universo narrativo de Penny Dreadful, corpus que planteó retos para entender ya no solamente una narración fantástica, sino un universo abierto que se transforma constantemente a partir de la participación tanto de los artistas que contribuyen en su creación, como de los fanáticos creativos que colaboran con contenidos generados desde su propia experimentación, interacción y aprendizaje. Esto ha dado como resultado una apertura a nuevos contextos narrativos que se abren a una producción más democratizada y que desarrollan una propuesta estética que permite establecer procesos de creación, comunicación y aprendizaje a partir de la relación entre la narratividad transmedia y la estética de lo fantástico. ABSTRACT: This research starts from a journey around fantasy literature in the field of transmedia narrativity, as well as the forms that this genre has adopted in an increasingly connected and complex world, in which digital technology affects the way in which these narratives materialize. Therefore, the case study focuses on the narrative universe of Penny Dreadful, a corpus that posed challenges to understand not only a fantastic narrative, but an open universe that is constantly transformed by the participation of both artists who contribute to their creation, as well as creative fans who collaborate with content generated from their own experimentation, interaction and learning. This has resulted in an opening to new narrative contexts that open up to a more democratized production and that develop an aesthetic proposal that allows establishing processes of creation, communication and learning based on the relationship between transmedia narrativity and the aesthetics of the fantastic.

In his 1917 essay, “Art as Technique,” the Russian literary theorist and critic Viktor Shklovsky coined the term “defamiliarization.” Shklovsky argued that one purpose of art was to overcome the “deadening effects of habit” by presenting familiar aspects of existence, including social conventions like marriage and property ownership, in unfamiliar ways that would encourage readers to reexamine them. Analogy and displacement were among the methods he cited as a means of disrupting an entrenched perspective. Advocates for legal change often face the challenge of overcoming the judicial “habit” of deferring to prior decisions that favor the status quo. Given the heavy reliance of our legal system on immediate precedent as a basis for decision-making, it is worth considering techniques that artists have used to “shake up” similarly deep-rooted social conventions. This article considers how advocates can use the literary techniques outlined in Shklovsky’s article to shed light on conscious or unconscious biases in the law, or as a means of overcoming adverse precedent. Part I of the article summarizes Shklovsky’s “Art as Technique”; Part II notes some examples from art and literature that illustrate the use of defamiliarization techniques; Part III examines how these techniques have been used to address unfavorable precedent and/or judicial or societal biases in high-profile cases, such as Bowers v. Hardwick, Romer v. Evans, and Atwater v. City of Lago Vista.

L’article vise à mettre en lumière la manière dont les quatre œuvres d’art reproduites dans le roman Cercle (2007) de Yannick Haenel, insérées à la trame diégétique, peuvent être appréhendées comme des objets littéraires possédant une signification plus complexe que celle qui pourrait leur être rattachée de prime abord. Plus précisément, il s’agit de voir comment ces dernières, au-delà de contribuer au progrès narratif du roman, premièrement, résonnent avec l’expérience vécue par le narrateur dans la fable et figurent chacune un geste spécifique ; deuxièmement, évoquent quatre puissances de la fiction ; troisièmement, rendent compte d’un discours sur soi de la part de Haenel, de dispositions posturales propres à son œuvre et à l’image d’écrivain qu’il souhaite donner de lui. En somme, il est question de montrer comment les quatre images agissent comme des suppléments au texte, de manière rayonnante et dynamique. The article explores the way in which the four works of art reproduced in the novel Cercle (2007) by Yannick Haenel, and inserted in the narrative, can be seen as literary objects whose meaning is more complex than expected. Beyond their role in the narrative construction of the novel, these art works reflect the narrator’s experience and signal a specific gesture. They also convene four different fictional devices. Finally, they reflect Haenel’s self-portrayal, telling us something of his relations with his work and his image as writer. The art works supplement the text at different levels, in a dynamic fashion.

Through the art of Marc Desgrandchamps, this present thesis aims to figure out the way literature and cinema act on the creation of a painter whose career, initiated in the eighties, takes place at the turning point of two centuries. The main goal that guides our investigations into the relationships he has established with other visual universes and other views of the world is to replace his work inside a certain artistic context that will shed some light on aspects not yet fully understood of his art. In a more general way, by uncovering the influences which operate in his creation, the purpose we are pursuing is to review the very issue of influence. To grasp its role in the creative process is a question that lies at the heart of our subject matter., À travers l’oeuvre de Marc Desgrandchamps, la présente thèse s’attache à cerner la manière dont la littérature et le cinéma peuvent agir sur ce que crée un peintre dont la carrière, débutée dans les années 1980, se situe à la charnière du XXe et du XXIe siècle. Notre objectif avec cette étude est de permettre, par cette exploration des liens qui se sont au fil des années construits et consolidés avec d’autres univers et sensibilités, de replacer son oeuvre à l’intérieur d’un certain environnement artistique susceptible de nous renseigner sur des facettes insoupçonnées ou mal connues de son travail. Plus largement, il s’agira aussi en traquant les influences qui le traversent de faire un retour sur la notion même d’influence, dont nous essaierons d’appréhender le rôle dans le processus créatif d’un artiste.

The text deals with the intersections between literature and visual arts in The Illogic of Kassel by Enrique Vila-Matas and Leaving the Atocha Station by Ben Lerner. Both authors are "allies of contemporary art", as Lysias himself admits being too. Their books, which are considered novels, are also seen as fine arts works. O texto trata das intersecções entre literatura e artes visuais em The Illogic of Kassel de Enrique Vila-Matas e Leaving the Atocha Station de Ben Lerner. Ambos autores são “aliados da arte contemporânea”, como o próprio Lísias confessa ser, e seus livros considerados romances, assim como obras plásticas.

Coraline (2012) é uma narrativa que foi adaptada às mais diversas mídias. Alguns autores como Poe (2010) e Arlindo Machado (2008), ao definir mídia e comentar o papel da arte sobre ela abrem espaço para discussões que envolvem a produção narrativa em um universo que já não é mais composto de meios de comunicação separados, mas sim convergentes. Ao utilizarmos os estudos de Claus Clüver (2006) e Irina Rajewsky (2012) sobre a arte na intermidialidade e as adaptações conforme Robert Stam (2006) e Linda Hutcheon (2006), conseguimos compreender melhor o funcionamento do que, originalmente chamado de gênero por Todorov (2014), foi debatido e hoje é conhecido como modo narrativo fantástico em um universo plurimidiático como o de Coraline. Partindo da teoria de Freud (2017) sobre O Inquietante e dos procedimentos narrativos e sistemas temáticos do fantástico propostos por Remo Ceserani (2006), analisamos nesse trabalho as diferenças representacionais desses aspectos em três diferentes linguagens: nas imagens dos paratextos, no romance e na animação. Coraline (2012) is a narrative that was adapted to many different media. Some authors as Poe (2010) and Arlindo Machado (2008), defining media and making comments over the role of art in it open discussion involving narrative production in a universe which is not made of separated media, but converging ones. Using Claus Clüver’s (2006) and Irina Rajewsky’s (2012) studies about art in intermidiality and adaptation according to Robert Stam (2006) and Linda Hutcheon (2006), we are able to better comprehend the functioning of what, originally called a genre by Todorov (2014), was debated and today is well-known as the fantastic narrative mode in a plurimidiatic universe such as Coraline. Starting from Freud’s (2017) theory about The Uncanny and from the narrative procedures and thematic systems of fantastic proposed by Remo Ceserani (2006), we analyze in this work the representation differences of these aspects on three different languages: on the pictures of the paratext, on the novel and on the animation.

Em que medida um ensino interartes, com enfoque nas linguagens contemporâneas das artes visuais, das artes cênicas, bem como a multimodalidade dos próprios meios de comunicação e na literatura infantojuvenil, pode contribuir para que estudantes do Ensino Fundamental se tornem aptos a compreender e se apropriar ativa e criativamente dos atuais códigos híbridos da leitura? Esse foi o questionamento principal que suscitou esta pesquisa, objetivando a compreensão das possibilidades oferecidas por um ensino que estabelecesse o multiletramento, a intertextualidade entre múltiplas linguagens artísticas e a literatura, posto que tal foco é minimamente explorado nas escolas. Para verificar as possíveis respostas à indagação, foram planejadas cinco situações pedagógicas nas quais houve a ligação interdisciplinar de linguagens artísticas – como o desenho, a poesia, o teatro, a performance, a arte conceitual, a ilustração, a expressão tridimensional e sonora, entre outras – com a leitura literária, abordando livros específicos destinados ao público infantojuvenil. Optou-se, então, pela seleção de obras de caráter híbrido, em suas linguagens, e com possibilidades para dialogar com diversas formas de expressão artística. Metodologicamente, a pesquisa foi desenvolvida alicerçada na perspectiva qualitativa, com Tozoni-Reis e recorrendo-se à bibliografia específica, analítica e aplicada, de acordo com Gil e Bardin. Ela foi sintetizada nesta dissertação, dividida em quatro capítulos, incluindo também um apêndice: o Produto Educacional, publicação digital para professores. Devido à abordagem de temas variados e complexos, buscou-se apoio teórico em autores relacionados ao campo do ensino das artes e da literatura, em especial Barbosa, Hernández, Rojo, Bakhtin, Vygotsky, Candido, Clüver, Kristeva, Koch, Samoyault, Marcuschi, Merleau-Ponty, Rossi e Fischer, que foram consultados em várias fases do estudo. Ao final, a investigação permitiu observar que o ensino interartes pode oferecer ferramentas para desenvolver o potencial criativo e a leitura de mundo dos estudantes, o que pode ser verificado com base no registro de suas produções analisadas sob a ótica dos teóricos mencionados. To what extent does interartes education, with a focus on contemporary communication, contemporary languages of the Visual Arts, the Performing Arts, as well as the multimodality of the media themselves and children's literature, contribute to become able students of Elementary School who are able to understand and appropriate actively and creatively the hybrid codes of reading today? This was the main question raised by this research, aiming to understand the possibilities offered by a teaching that established multilearning, intertextuality between multiple artistic languages and children's literature, since such a focus is minimally explored in schools. In order to verify the possible answers to the question, five pedagogical situations were planned in which there was an interdisciplinary connection of artistic languages such as drawing, poetry, theater, performance, conceptual art, illustration, three-dimensional and sonic expression others - with the literary reading approaching specific books intended for children. The selection of works of a hybrid character, in their languages, and with possibilities to dialogue with various forms of artistic expression was chosen. The research was synthesized in this dissertation, divided in four chapters, also including an appendix: the Educational Product, a digital publication for teachers. Due to the approach of varied and complex themes, theoretical support was sought in authors related to the field of teaching of the arts and literature, especially Barbosa, Hernández, Rojo, Bakhtin, Vygotsky, Candido, Clüver, Kristeva, Koch, Samoyault, Marcuschi, Merleau-Ponty, Rossi and Fischer, who were consulted at various stages of the study. Methodologically, the research was developed based on the qualitative perspective, with Tozoni-Reis and resorting to specific bibliography, analytical and applied, according to Gil and Bardin. In the end, the investigation showed that the interarting teaching can offer tools to develop students' creative potential and world reading, which can be verified based on the record of their productions, analyzed from the perspective of the mentioned theorists.Keywords: Art Teaching. Literature teaching. Interartes Dialogue. Intertextuality.

The last three decades have seen extensive reflection concerning how science communication should be modelled and understood. In this essay we propose the value of a cultural approach to science communication — one that frames it primarily as a process of meaning-making. We outline the conceptual basis for this view of culture, drawing on cultural theory to suggest that it is valuable to see science communication as one aspect of (popular) culture, as storytelling or narrative, as ritual, and as collective meaning-making. We then explore four possible ways that a cultural approach might proceed: by mobilising ideas about experience; by framing science communication through identity work; by focusing on fiction; and by paying attention to emotion. We therefore present a view of science communication as always entangled within, and itself shaping, cultural stories and meanings. We close by suggesting that one benefit of this approach is to move beyond debates concerning ‘deficit or dialogue’ as the key frame for public communication of science. Science stories as culture: experience, identity, narrative and emotion in public communication of science Copyright The Author(s). This article is licensed under the terms of the Creative Commons Attribution — NonCommercial — NoDerivativeWorks 4.0 License.

CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Esta pesquisa tem como objetivo compreender o projeto estético da obra de Manoel de Barros por meio da relação dialógica estabelecida entre o poeta e o artista plástico Arthur Bispo do Rosário. Desse modo, analisar-se-á como esse autor consagrado, por retratar as “grandezas do ínfimo”, utilizou-se de elementos banais, marginalizados e até mesmo da questão da loucura, por meio de um diálogo com o ilogismo, em suas obras, e de que forma os elementos e a proposta estética de Arthur Bispo do Rosário são abordados na obra de Barros, ou seja, qual a carga avaliativa da poética de Bispo para Barros. Bispo do Rosário é considerado um dos maiores artistas plásticos brasileiros e construiu toda sua obra durante o período em que esteve internado na Colônia Juliano Moreira no Rio de Janeiro. Diagnosticado esquizofrênico paranoide, utilizava a matéria sem prestígio para a construção de seu legado, e tinha a missão na terra de reconstruir o mundo após o juízo final, e como resultado dessa missão, ele significou objetos em desusos tal qual Manoel de Barros monumentou os restos. Dessa conjuntura, propomos um diálogo entre a poética de Bispo e Barros, pensando a significação das coisas por meio da linguagem poética que os une. Dentro dessa dimensão dialógica, propomos ainda analisar a construção de imagens que perturbam a lógica na obra de ambos. Para Manoel de Barros, a imagem poética é uma forma de transcendência da linguagem. Ele desconstrói conceitos pré-estabelecidos, permitindo uma nova compreensão do mundo e, consequentemente, do ser, a partir de um projeto de refazer o mundo por meio dessas imagens em um diálogo com o ilógico, com o desconexo, com o onírico e com a significação das coisas banais. O diálogo de Manoel de Barros com as artes plásticas se dá de uma forma profunda, ao dedicar-se aos estudos dessa arte, por um ano, na Escola de Arte Moderna e Contemporânea de New York (EUA), após uma viagem que marcou todo o seu projeto estético e político. Nesse contexto, os diálogos com as artes plásticas, de um modo geral, são uma constante na obra de Barros, contudo, elegemos aqui os diálogos que o poeta estabelece com Bispo do Rosário, por acreditarmos que Bispo é mais do que uma referência na obra de Barros, ele concretiza o projeto do poeta de como fazer um livro que fizesse o nada aparecer. Bispo é um dos “eutros” de Manoel de Barros, que traduz, em sua poética, uma carga avaliativa maior nos diálogos que Barros estabelece com as artes plásticas. Nessa perspectiva, tanto Barros quanto Bispo do Rosário buscam a ressignificação das coisas por meio da construção de imagens. This research aims to comprehend the esthetic project present in the work of Manoel de Barros, through the dialogical relation established by the poet and plastic artist Arthur Bispo do Rosário. Hence, the observation of how this acclaimed author for portraying the “greatness of the tiny” used mundane elements, marginalized and even the matter of madness, through a dialogue with the illogical, in his work and in which ways, the elements and esthetic proposal of Arthur Bispo do Rosário support Barros´s work, that is, what the poetic evaluative value of Bispo to Barros is. Bispo do Rosário is considered one of the greatest Brazilian plastic artists and carried out his entire work at Colonia Juliano in Rio de Janeiro, diagnosed with schizophrenia, utilized worthless matter to build his legacy. Bispo had the mission to rebuild the world after Armageddon, and as a result, he gave meaning to such matter, as Manoel de Barros monumented the rest. From this scope, we suggest a dialogue between the poetry of Bispo and Barros, considering the significance of things through the poetic language that unite them. Inside the dialogical dimension, we also suggest analyzing the image construction that disturbs the logic in the work of both. To Manoel de Barros poetic image is a way of transcending the language. Thus, he disassemble pre-established concepts allowing a new understanding of the world, and consequently of the being from a project that aims the world´s rebuilding through these images and a dialogue with the illogical, with the disconnected, with the dreamlike and the meaningfulness of ordinary things. Barros´s dialogue with plastic arts happens in a deep way, having dedicated himself to its study for a year at the modern and contemporary art school in New York – USA, after a trip that impacted all his esthetic and political project. In this context, dialogues with plastic arts, on a general basis, are constant in his work, however, the dialogues the poet establishes with Bispo do Rosário are the ones selected here, for we believe Bispo is more than a mere reference in Barros´s work, he materializes the poet´s project to write a book that made the nothing come up. Bispo is one of Barros´s facets, having in his poetry, this way, a heavier evaluative weight in this dialogue Barros has with plastic arts. From this point of view, both Barros and Bispo do Rosário seek the remeaningfulness of things through image construction. Tese (Doutorado)

A hibridez narrativa em O mez da grippe, de Valêncio Xavier, se pauta em uma análise e interpretação a respeito dos vários discursos que se incorporam no fazer literário do autor. Nesse sentido, o percurso que aqui tomamos é o de (re)pensar tais discursos por meio de uma análise que possa compreender quais recursos Valêncio Xavier toma a fim de empreender sentido em seu feito literário. Para tanto, ele se utiliza de ferramentas estilísticas e estéticas como a montagem, a bricolagem e a colagem, bem como se utiliza da paródia, da paráfrase e do pastiche, e de outros elementos de referenciação textual que ressignificam as imagens, as fotografias e os textos escritos conforme a narrativa toma seus caminhos por meio das várias narrativas que se consolidam: a do homem que caminha sozinho pela cidade de Curitiba; a de Dona Lúcia, e seu distanciamento histórico do ocorrido da gripe; a da Primeira Guerra Mundial que ocupa os planos narrativos; bem como outros histórias que coexistem e dinamizam nesse espaço de sentidos. A fim de cumprir com o objetivo de analisar e interpretar tal obra, nos apoiaremos nos escritos de Clüver (2011), Candido (2011), Elias (1993), entre outros, assim que se fizer pertinente para a consolidação deste estudo. The narrative hybridity in Valencio Xavier's O mez da grippe is based on an analysis and interpretation of the various discourses that are incorporated into the author's literary practice. In this sense, the path we take here is to (re)think such discourses through an analysis that can understand which resources Valencio Xavier takes in order to make sense of his literary achievement. For this, it uses stylistic and aesthetic tools such as assembly, bricolage and collage, as well as parody, paraphrase and pastiche, and other textual referencing elements that redefine images, photographs and texts written as the narrative takes its ways through the various narratives that are consolidated: that of the man who walks alone through the city of Curitiba; Dona Lucia's, and her historical detachment from the flu; that of World War I that occupies the narrative plans; as well as other stories that coexist and streamline this space of meaning. In order to fulfill the objective of analyzing and interpreting such work, we will rely on the writings of Clüver (2011), Candido (2011), Elias (1993), among others, as soon as it becomes relevant for the consolidation of this study.

International audience; Dans son œuvre fulgurante mais dense, partagée symétriquement entre photographie et littérature, Édouard Levé, ne s’est guère privé d’utiliser et de subvertir des formes héritées de la liste. Classifications, fragments, listings, accumulations et parataxes – entre autres – y figurent en bonne place. Davantage qu’aux quatre grands livres de photographie dans lesquels la variation et la sériation s’ingénient à distendre et troubler les rapports entre texte et image, l’analyse s’attachera à démontrer de quelle façon les quatre textes que sont Œuvres, Journal, Autoportrait et Suicide) font usage de cette rhétorique particulière. Si l’influence subversive de l’art contemporain et de ses mises en liste est particulièrement marquée dans Œuvres et si, dans une certaine mesure, Journal se présente comme une tentative de neutralisation du monde et du sujet par la récriture de rubriques, on voudrait saisir les enjeux de ces formes dans Suicide et surtout Autoportrait, deux textes à la littérarité plus affirmée, dans lesquels la parataxe et l’effet-liste rendent compte par la kyrielle, la querelle et la contradiction d’un moi émietté.

This study investigated the potential for comics to promote skepticism about the paranormal. Participants rated their interest in comics, read a skeptical account of alleged paranormal phenomena in one of three mediums (text, comic, and comic containing an interactive magic trick), and then rated their engagement, skepticism and recall. The text was rated as more interesting and entertaining than the comics, and participants' prior interest in comics positively correlated with engagement and shift in skepticism. This suggests that for certain cohorts, comics may be an effective way to promote engagement and attitude change. The implications for future work are considered.

Resumen Esta investigación aborda el “texto autoetnográfico” entendido como una indagación epistémica que realiza un sujeto respecto de procesos vitales que busca dar sentido. Estos textos se caracterizan por integrar diferentes voces o puntos de vista que crean y representan un significado moral (Denzin & Lincoln, 2005) y, que, en el marco de una perspectiva pos/decolonial, actúan combinando o infiltrando elementos y conceptos indígenas para crear autorrepresentaciones destinadas a intervenir en los modos metropolitanos de comprensión y representación del “otro” (Pratt, 1999).Desde este punto de vista, este trabajo sostiene que estos tipos de textos emergen como una nueva estrategia del discurso artístico y literario indoamericano en respuesta al imaginario colonial, cuyos mecanismos de reificación se invierten mediante complejos procesos retóricos, desestabilizando los significados legitimados por la institucionalidad colonial. Para observar este proceso se analiza el discurso visual y poético del pueblo mapuche, abriendo una discusión acerca de los nuevos procesos de representación del arte indígena actual. Abstract This investigation addresses the “autoethnographic text”, understood as an epistemic enquiry that a subject provides about vital processes that it seeks to give meaning to. These texts are characterized by the integration of different voices and/or points of view, that create and represent a moral meaning (Denzin & Lincoln, 2005) and that, within the framework of a post/decolonial perspective, act by combining or infiltrating indigenous elements and concepts to create self-representations designed to intervene in the metropolitan modes of understanding and representation of the “other” (Pratt, 1999). From this point of view, this work maintains that these types of texts emerge as a new strategy of Indo-American artistic and literary discourse in response to the colonial imaginary, whose mechanisms of reification are reversed by complex rhetorical processes, destabilizing the meanings legitimized by colonial institutionality. In order to observe this process, the visual and poetic speech of the Mapuche people is analyzed, opening up a discussion about the new processes of representation of current indigenous art.

PURE PRINT Madrid. Book Art Edition 2017, és una trobada internacional d'artistes docents i investigadores de diferents institucions d'ensenyament superior per pensar i realitzar un Llibre-Art col·laboratiu i editable. Com a objectiu es proposa la posada en comú de les diferents vies d'estudi i d'investigació al voltant del Llibre-Art per afavorir l'intercanvi d'experiències i d'informació, així com d'establir llaços de col·laboració entre les institucions internacionals de Belles Arts d'Espanya, Itàlia, Brasil, Portugal i Polònia. Aquesta trobada es realitza en unes jornades a la Facultat de Belles Arts de la Universitat Complutense de Madrid del 24 al 28 d'abril del 2017. Es planteja un mètode de treball col·laboració entre iguals i es tracten temes docents, creatius i de recerca partint d'un tema comú a totes les participants, el Llibre-Art.

International audience

Les proses impressionnistes de la Recherche s’accommodent de procédés d’écriture inspirés du futuro-cubisme. Juxtaposant Duchamp à Monet, le romancier en exhausse le parti-pris anti-idéaliste, qu’il adopte dans le sillage de Laforgue (source aussi de Duchamp). Or l’anti-idéalisme proustien recouvre un anti-dualisme, expliqué d’habitude en termes de phénoménologie. Soulignant l’inscription corporelle de l’esprit, Proust demande à la peinture d’incarner une philosophie anti-représentationniste., The impressionist prose of Recherche adapts procedures of writing inspired by futuro-cubism. Juxtaposing Duchamp with Monet, the novelist exalts the anti-idealism line of argument, which he adopts in the wake of Laforgue (also a source for Duchamp). But Proust’s anti-idealism conceals an anti-dualism, usually explained in terms of phenomenology. Emphasizing spirit’s containment in a corporeal vessel, Proust asks of painting that it should incarnate an anti-representationalist philosophy.

RESUMEN: Curioso lector, exhibimos un escenario tramado por la polifonía de voces, evocadas desde el recuerdo, la oralidad y la reflexión, transformadas en narrativas portadoras de Memoria Histórica. En un espacio atravesado por diversas formas del conflicto social y armado, se revela un trabajo que, desde la literatura en diálogo con otras manifestaciones artísticas, permite la comprensión de un pasado presente, que urge ser aceptado y reparado por los senderos de la reflexión, la sensibilización y el diálogo. Que innova en los procesos de aprendizaje desde la incursión de pedagogías de la memoria. Que fortalece la democracia, el conocimiento y la trascendencia de la historia del país, para configurar caminos que insinúan la no repetición. Acciones colectivas que consagran la paz, la experiencia, el cuidado de sí, el cuidado del otro, la equidad, la diversidad, el respeto y la armonía entre las comunidades, a través de la construcción de Memoria Histórica. Todo a partir de una propuesta didáctica, respaldada por un diseño emerfente, articulada desde la literatura con otras manifestaciones artísticas. ABSTRACT: Curious reader, we show a scenario built by the polyphony of voices, evoked from the memory, the orality and the reflection, transformed into narratives carrying Historical Memory. In a space where there are a diverse forms of social and armed conflict and showed from the literature in dialogue with other artistic manifestations, it allows the understanding of a present past, which urgently needs to be accepted and repaired by the reflection ways, awareness and dialogue. That innovates in the learning processes from the incursion of pedagogies of memory. That strengthens democracy, knowledge and transcendence of the history of the country, to configure ways that focus on non-repetition. Collective actions that consecrate peace, experience, self-care, caring for others, equity, diversity, respect and harmony among communities, through the construction of Historical Memory. All from a didactic proposal, backed by an emerging design, articulated from literature with other artistic manifestations.

International audience; Introduction to a book by A. Moroncini, who investigates Michelangelo's poetic production to shed new light on the artist's religious beliefs and unique language of art.

This thesis has evolved from William Blake's phrase, "Imitation is Criticism" written in the margin of Sir Joshua Reynolds's Discourses on Art. As a concept central to the production and criticism of art, imitation has largely been explored in the philosophical context of aesthetics rather than in terms of its practical application in image-text studies of the Romantic period. It has also traditionally served as a marker for the period designation 'Romantic', which in image-text studies continues to be played out in terms of the transition from imitative to expressive modes of making and response. Yet this notion of periodization has proven problematic in studying the response to 'false criticism' within what Wallace Stevens calls that 'corpus of remarks about painting'. These remarks reveal an important tension within imitation as a way of making something like something else, but also as a means of characterizing the relationships that underpin that resemblance. This tension not only occupies a central place in the concurrent development of art criticism and literary criticism in the period, but also offers a new foundation for the interdisciplinary study of image-text relationships in the period. The thesis is divided into two parts, each guided by the important role that imitation plays in the fight against 'false criticism' with respect to the visual arts. The first part examines the tension within imitation from the standpoint of artists and connoisseurs who expressed concern about the excesses of description in asserting the need for a credible art criticism while at the same time realizing its inevitability. The second part examines the tension within imitation from the standpoint of the American artist Washington Allston and his friend Samuel Taylor Coleridge, both of whom used this tension to advantage in setting forth a lexicon and methodology that could account not only for the 'specific image' described, but also the geometrical and structural relationships that underpin that image.

Continuous and more or less veiled references, descriptions, inventions, images characterize the poetry of Georges Perec. But above all one image is significant not only to his poetics but to himself: that of Le Condottière, translated in english as Portrait of a Man. On 2012, thirty years after Perec’s death, the last piece of his literary image was discovered. Actually, it is the first image of this complex puzzle, the first time Gaspard Winckler, Perec’s recurrent alter-ego, appeared on the scene. Three main characters stay on the stage of Portrait of a Man: Gaspard Winckler, Antonello da Messina and the unknown warlord himself. Behind them stays, of course, Perec, the “character” into which all the others flow, that they somehow have built or depicted. And, probably, it is his own image, his own portrait that Perec is trying to depict through each of them, by writing of and on each of them.

Universidad de Sevilla. Grado en Bellas Artes

Süleyman Nazif (1869-1927) Türk Edebiyatı'nın önde gelen, şair, yazar, gazeteci ve devlet adamı olarak Türk edebiyatında önemli izler bırakmış bir yazarımızdır. Şiirimizde ve hatta nesrimizde Süleyman Nazif, Servet-i Fünûn şairleri arasında anılır. Edebiyat tarihimizde ona bu edebî topluluk içinde yer verirler. Edebiyatı ve sanatı, eskisi ve yenisiyle bir bütün olarak gören Süleyman Nazif'i, bir edebî grup içine yerleştirmek son derece güç görünmektedir. Nesirlerini bir tarafa bıraksak bile, şiirleriyle onu alışılmış sınıflama içinde bir gruba yerleştirmek oldukça zordur. Şiir zevki baba ocağında teşekkül eden Süleyman Nazif, Servet-i Fünûn dergisinde şiirlerini yayınlarken yalnız bir arayışı sürdürür. Onun sesine sinen Servet-i Fünûn duyarlılığı ve anlayışı, kişiliğinin bir yönü hakkında kanaat verse bile, emanet gibi durmaktadır. "Kara Bir Gün" adlı makalesiyle millî duyguları harekete geçiren ve milletine haykıran bir sesle seslenen Süleyman Nazif, yazdığı makaleleriyle, mizacıyla, dile katkısındaki tavrı, eski yeni arasındaki arayışları, üslubu, kelime kadrosuyla, fikriyle, edebî şahsiyeti itibariyle Servet-i Fünûn'dan çok "Millî Duyuş Hareketi"nin içinde gösterebileceğimiz bir mutasavvıf bir sanatçıdır. Sanatçının yürekten gelen ve cesur bir hüviyetle dillenen eserlerinde, ciddi bir Namık Kemal etkisi olduğu görülmekte ve mevcut durum Süleyman Nazif'e bu vatan şairi gibi haykıran manzum ve mensur eserler vermesine sebep teşkil etmektedir. Karakterinde meydan okuyan "Batarya ve Ateş" yürekli bir adamın ruh halini görürüz.Süleyman Nazif, kendi kendisini yetiştirmiş bir sanatçımızdır. Dönemin bir çok yazarı gibi Süleyman Nazif, İçtihat, Tasvir-i Efkar, Peyâm-ı Sabah, Son Telgraf, Yeni Ses gazeteleri, Resimli Gazete; Yarın, Mahfil, Asri Türkiye, Servet-i Fünûn, Hadisat, Hak, gibi dergi ve gazetelerde yazılarını neşretti. Nazımda daha zayıf olan Nazif nesirde şiddet dozu yüksek makaleler kaleme alır. Makale, tenkit, mektup, inceleme, konferans, hitabet gibi birçok türde yazı yazmıştır. Dil ve sanat ile ilgili makaleleri, polemikleri, tenkitleriyle ve dönemin önemli şahsiyetlerine yönelik incelemeleriyle edebiyatımıza önemli eserler bırakmıştır. Ancak bu yazıların birçoğu değişik gazete ve dergilerde dağınık olarak bulunmaktadır. Bu çalışmada 1869-1927 yılları arasında yayımlanan dergi ve gazeteler taranarak Süleyman Nazif'in makalelerin listesi ortaya konularak önemli görülen dil, edebiyat ve sanat yazıları Latin alfabesine aktarılarak bu husustaki görüşleri ortaya konulmuştur., Süleyman Nazif (1869-1927) is a foremost writer who has fairly impressed Turkish Literature as poet ,author , journalist and statesman.Süleyman Nazif is known as one of the poets of Servet-i Fünun at our poems and also our prose.He is mentioned in that literary community ( Servet-i Fünün) at our literature history.It is really seen quitely hard to include him ,who has seen the literature and art as a whole with the past and contemporary of them, in a literary community .Even if we ignore his proses, it's so impossible to include him in an ordinary group with his poems.Süleyman Nazif's poem ambition was shaped in his family home but he also maintained new seeking while sharing his poems in the magazine of Servet-i Fünun. Even if his sensibility and sympathy of Servet-i Fünun convinced us about a part of his personality, it is clear that it's seen temporarily. Süleyman Nazif, who has provoked the national feelings by his article called "Kara Bir Gün" and spoke to his nation with enthusiasm style, is an mystic artist we can show him in "Milli Duyuş" community more than "Servet-i Fünun" in respect of his articles, disposition, his manner of contribution of the language, his seeking differences between past and now, style, knowledge of word, opinions and literary personality. In his works ,that are exactly voice of his opinions and called with his brave manner, seriously seen influence of Namık Kemal and that statement makes him create poetic and prose works.We barely can see a mood of brave man in "Batarya and Ateş" work in his challenging character. Süleyman Nazif is an self-improved artist.As many of others, Süleyman Nazif published his articles in alot of magazines and newspapers like; "İçtihat, Tasvir-i Efkar, Peyâm-ı Sabah, Son Telgraf, Yeni Ses ,Yarın, Mahfil, Asri Türkiye, Servet-i Fünûn, Hadisat, Hak". Nazif is a bit weak in verse but meanwhile writes charming articles in prose.He wrote in many fields like article, criticism, letter, researching, conference, rhetoric.He has presented fairly important works in our literature by his articles about the language and art, literally polemics, criticism and researching of important people of that period. Howeveri, many of these works are scatterd in many different newspapers and magazines.By this work, it's introduced of his opinions about that point by reviewing the magazines and newspapers published between 1869-1927, exhibiting the articles of Süleyman Nazif and translating his articles of language, literature and art to Latin alphabet.

Universidad de Sevilla. Grado en Bellas Artes

Universidad de Sevilla. Grado en Bellas Artes

Much of science communication is peer-to-peer communication in collaborative networks for innovation from the fuzzy front-end of innovation until the marketing back-end. Scientists and engineers at meetings tables talking about new developments. Or scientists and engineers in collaboration with industry and policy makers, discussing various scenarios for implementation of e.g. health care services. However, this focus on science communication 'within the action' of uncertain development of science and technology and its attached academic domains such as innovation studies, high-tech marketing and branding, is not often discussed in the science communication literature. Lacking these considerations at this micro-level communication, means we have an incomplete picture of the ways that discourses develop and are shaped by actors, particularly during the upstream phases of innovation.

Sheikhe Eshraq is known in the Islamic civilization as the first theorist of imaginational world. His important idea in Hekmat-al-Eshraq and other works in the proof of a world between lights world and material world as an isthmus (imaginational world or mundus imaginalis) between this world and hereafter or between spiritual world and obvious material world has important and significant effect on the expression of the universe stages in the works of Islamic wisdom such as Hazarate Khams (five divine beings) of Ibne Arabi. In order to describe and explain imaginational world, the use of imagination (which was used by Farabi as a factor to justify and explain Revelation and Prophethood and was analyzed completely by Avicenna in "Shefa") was more developed in the illuminationist wisdom and, as an esoteric faculty, it became a mirror reflecting imaginative forms of the imaginal world of imagination. Thus, referring to verses such as" then We sent her Our angel to human beings only" and appearance of Gabriel as Dahiee Kalbi to the prophet of Islam, the imaginational world became a source of ideal forms which appeared in the imagination of human and especially with regard to delicate point of Sheikh Eshraq in explaining the rule of Kon which considers an active role for the Wayfarer in creating such forms. The aim of this article is, first, to explain the faculty of imagination and its function as epistemological realm (continuous imagination) and also analyze ontological aspects of imagination, known as imaginational world or plan of ideal (discrete imagination), and then describe the role of these imaginations in founding the early and most important theosophical theories in the realm of Islamic art, literature and architecture (especially mosque).

María, la hija del jornalero –one of the most successful novels published in Spain during the reign of Isabel II- contains many references to the visual arts, museums, historical places and art theory. These mentions bear important meaning in order to analyse the relationships between taste and politics during this period. This article tries to prove that aesthetic questions are deeply involved in the discourse of liberalism. Throughout the novel we can see disdain toward ostentation, associated with the church and the aristocracy; the connection between liberalism and national style; the enthusiastic description of places designed to express freedom; the transformation of elegance into a form of liberal identity; or finally, the use of artistic images by liberal society. María, la hija del jornalero –una de las novelas de más éxito publicadas durante el reinado de Isabel II– contiene numerosas referencias a las artes visuales, museos, lugares históricos y teorías artísticas. Estas menciones poseen un importante significado para analizar las relaciones entre gusto y política en ese período. Este artículo trata de demostrar que las cuestiones estéticas están profundamente involucradas en el discurso del liberalismo. A lo largo de la novela podemos ver el desprecio hacia la ostentación, asociada a la iglesia y a la aristocracia; la conexión entre liberalismo y estilo nacional; la entusiasta descripción de lugares destinados a expresar la libertad, la transformación de la elegancia en una identidad liberal; o finalmente, el uso de las imágenes artísticas en la sociedad liberal.

El presente trabajo surge de mi pasión por la obra de Franz Kafka. Pasión que se remonta a lejanos años cuando quedé prendado, ya para siempre, de la prosa, para mí mágica, del autor praguense. Consistía el proyecto de investigación, en su intención primera, en confrontar la obra literaria de Kafka con sus dibujos. Pensaba entonces, y hoy estoy firmemente convencido de ello, que algunas de las características, cualidades y estados de sus personajes literarios –humanos o animales– y, lógicamente, tratándose de Kafka, del autor de los mismos, que- daban reflejados en esos expresivos dibujos. Consideraciones sobre la escasez de material con que me era posible contar –prácticamente se reducía a lo reproducido en la biografía de Max Brod sobre su amigo, Kafka, Madrid, 1974, y en algunas publicaciones de Klaus Wagenbach, la dificultad para conocer, en aquel momento, si existían, o no, más dibujos realizados por Kafka, y lo complejo de la empresa, me hicieron entonces desistir de ella. Sin embargo, continúo pensando, como he escrito más arriba, que la relación entre lo que Kafka escribió y dibujó es indubitable –aunque acaso en un ámbito próximo a lo no decible. Esta idea, a modo de oleaje, pervivió. Y, como algo vivo, con el decurso de los años fue creciendo, avanzando, retrocediendo, es decir, transformándose. Pero siempre, con la misma persistencia con que las olas, siempre iguales, siempre diferentes, llegan a la playa, resonó en mi interior la idea primigenia: en Kafka, hay algo que hermana a la palabra escrita con, permítaseme la expresión, la palabra pintada; algo que une su discurso literario con su «discurso» gráfico. De ahí a considerar que existe un vínculo entre pintura y literatura solo había un paso. Paso que ya fue dado, como sabemos, en la antigüedad clásica por Simónides, Platón, Aristóteles, Horacio... A través de los siglos y de una producción teórica ingente, esta idea llega a nuestros días. Así, decidí ampliar este trabajo al estudio de la relación entre pintura y literatura de una manera más vasta. De esta manera el proyecto derivó hacia una mayor amplitud teórica: si existe un nexo entre literatura y pintura, también existe una unión entre las diferentes artes. Me concentré en el estudio de las relaciones entre ellas. De este modo, tras idas y venidas varias alrededor de la relación entre producción literaria y obra gráfica, vine a centrarme en tres autores coetáneos que escribieron y dibujaron y cuya obra guarda cierto paralelismo: Alfred Kubin, Bruno Schulz y Franz Kafka. Partía de la idea de que la obra de cada uno de ellos, la literaria y la gráfica, mantenían un vínculo mayor de lo que hasta entonces se había venido considerando. Tras dudas conceptuales y metodológicas, al fin, este estudio desembocó en lo que ahora se ofrece: una reflexión sobre los dibujos de Franz Kafka. También sobre las relaciones y nexos que estos dibujos mantienen con sus textos. Atendiendo además al contexto en que unos y otros surgen. Franz Kafka vivió durante un periodo álgido en la Europa del siglo pasado. Dejó una producción literaria que marca una profunda huella en la narrativa del siglo XX hasta nuestros días y una obra gráfica a la que a menudo no se ha prestado la debida atención. Si bien esta situación ha venido estudiándose y ampliándose, de manera lenta, desde la década de los 50 del pasado siglo hasta el momento actual con estudios cada vez más amplios y rigurosos. Finalmente, creo fundamental una consideración: el estudio que sigue es una investigación a presentar en la Facultad de Bellas Artes redactada por «alguien que pinta» para ser leída ante «pintores». Que nadie busque en ella nada que sobrepase los límites de mi formación. Y, aunque elaborado con sumo rigor y esmero, no exento de pasión, este trabajo pretende alcanzar con sencillez una sola cosa: poner en valor los dibujos de nuestro autor, estudiarlos; evidenciar nexos existentes entre sus dibujos y sus textos; y analizar, aunque de manera limitada, el contexto en que unos y otros surgen y cómo se interrelacionan conformando un corpus único, la obra de Franz Kafka. Si el autor consigue este propósito, que no es poco, ya se dará por satisfecho.

In La Anunciación (2007) by María Negroni, a survivor of the Dirty War in Argentina narrates her quest to reconstitute herself as a subject, in exile, thirty years later. Thus, the novel inserts itself in the series of narratives about the memories of the last dictatorship in Argentina. However, at the same time, departing from referentiality, the novel creates obstacles for a mimetic reading. This paper argues that this is achieved through the discussion about art that mainly focuses on the character of Emma, the painter, and on the pictorial tradition of the Annunciation. Nonetheless, this departure from referentiality is by no means complete as the narrative keeps a dialectical relationship with history and memory. Accordingly, this article suggests that the novel puts forward a utopian idea of art that enters in dialogue with the utopian ideals of the revolutionary movements of the 1970s., En La Anunciación (2007) de María Negroni una sobreviviente de la Guerra Sucia en Argentina narra su intento de volver a constituirse como sujeto en el exilio, treinta años más tarde. A través de esta temática, se inserta en la narrativa argentina de la memoria de la última dictadura. Al mismo tiempo, la novela, desvinculándose de lo referencial, obstaculiza una lectura mimética. El presente trabajo argumenta que esto se logra a través de la discusión sobre el arte, discusión que, principalmente, se nuclea alrededor del personaje de la pintora, Emma, y de la tradición pictórica de la Anunciación. Pero esta desvinculación de ninguna manera es total, sino que se mantiene en una relación dialéctica con la Historia y con la memoria. De ahí, planteamos que, a través esa misma discusión sobre el arte, la narrativa propone una idea utópica de este, que entra en diálogo con las utopías de los movimientos revolucionarios de la década de 1970.

Treball teòric en què s’analitza la premissa “Ut pictura poesis” des dels seus orígens, passant pel punt àlgid d’influència, fins arribar a la seva davallada a finals del S. XVIII. S’estudia la relació de les arts germanes des de l’humanisme fins arribar al pensament de Gotthold Ephraim Lessing, mostrant el tractament dels diferents autors. Es defensa la idea que Lessing trenca la premissa en el moment que es proposa delimitar i distingir l’àmbit d’acció de la pintura i la poesia

Euskaltzaindia - Académie de la langue basque; International audience; The goal of this article is to analyze the role of the memory and the nostalgia as a resource to avoid the melancholia that comes from death and from the passage of time. As Mircea Eliade proposes in his work Le mythe de l’éternel retour: Archétypes et répétition (1949), believing in the myth of the cyclic time and returning to the myth that refers to old times wherepeople found collective solutions to their problems. The modern human, however, as a result of choosing a historical and a lineal vision of time, had to develop other strategies in order to eliminate the specific time. Analyzing some artistic objects, from an anthropological comparative approach to Art Critic, we will study the place that Art has occupied during the 20th century as a resource to solve this problem. In this regard, we will use some corporal artistic representations created in the 20th century.; El objetivo de este artículo es analizar el rol de la memoria y la nostalgia, como recurso para evitar la melancolía que traen la muerte y el paso del tiempo. En base a lo que propone Mircea Eliade en su trabajo Le mythe de l’éternel retour: Archétypes et répétition (1949) creyendo en el mito del tiempo cíclico y volviendo al mito de que en la antigüedad las personas encontraban soluciones colectivas a sus problemas. El ser humano moderno, sin embargo, como consecuencia de optar por una visión lineal historicista del tiempo, tuvo que desarrollar otras estrategias con el fin de eliminar el tiempo concreto. Analizando unos objetos artísticos, desde una aproximación antropológica y comparativa del campo de la crítica del Arte, estudiaremos que lugar ha ocupado el Arte mismo en el siglo XX como recurso para solucionar este problema. Utilizando para ello, algunas representaciones artísticas corporales creadas en el siglo XX.; Artikulu honen helburua da memoria eta nostalgiaren rola aztertzea heriotzak eta denboraren joanak dakarten malenkonia saihesteko baliabide gisa. Mircea Eliade antropologoak Le mythe de l’éternel retour: Archétypes et répétition (1949) lanean proposatzen duenaren arabera, antzinateko gizakiak arazoarentzako konponbide kolektiboa aurkitu zuen betiereko itzuleraren mitoan eta denbora zikliko mitikoan sinetsiz. Gizaki modernoak, ordea, denboraren ikuskera lineal historizista hartzearen ondorioz, beste estrategia batzuk garatu behar izan zituen denbora konkretua deuseztatze bidean. Artearen kritikaren arloko hurbilpen antropologiko eta konparatiboaren bidez, zenbait artelan aztertu ostean, arteak arazo hau konpontzeko baliabide gisa zein toki hartu duen aztertuko dugu, XX. mendean zehar sortutako gorputz errepresentazio artistiko zenbaitetan oinarrituz.; L’objectif de cet article est d’analyser le rôle de la mémoire et de la nostalgie, comme moyen d’éviter la mélancolie provoquée par la mort et le temps qui passe. Comme le proposeMircea Eliade dans son oeuvre Le mythe de l’éternel retour : Archétypes et répétition (1949) croyant au mythe L’objectif de cet article est d’analyser le rôle de la mémoire et de la nostalgie, comme moyen d’éviter la mélancolie provoquée par la mort et le temps qui passe. Comme le propose Mircea Eliade dans son oeuvre Le mythe de l’éternel retour : Archétypes et répétition (1949) croyant au mythe

El presente artículo pretende analizar las principales características de las écfrasis contenidas en la obra Vidas de Giorgio Vasari y sustentar que esta, además de dar cuenta de las biografías de los principales artistas italianos del periodo del Renacimiento, posee aspiración y potencia crítica -- Se busca igualmente exponer la retórica del encomio y la alabanza de la figura del artista como una de las motivaciones principales del autor

Con la presente edición facsimilar de la revista Panida, la colección concebida para conmemorar el Bicentenario de la Independencia de Antioquia llega a su título número cien -- Y como un gesto simbólico, los editores han querido recordar los cien años de la publicación de la revista que marcó una ruptura cultural en la pequeña y mojigata aldea con pretensiones de ciudad que era la Medellín de principios del siglo xx -- La revista tuvo una vida efímera: sus diez números fueron publicados entre el 15 de febrero y el 20 de junio de 1915 -- El primer director fue León de Greiff y lo acompañaban en la redacción Teodomiro Isaza, Rafael Jaramillo A., Bernardo Martínez, Félix Mejía, Libardo Parra, Ricardo Rendón, Jesús Restrepo Olarte, Eduardo Vasco y Jorge Villa Carrasquilla -- Posteriormente se integraron al grupo Fernando González, José Manuel Mora Vásquez y José Gaviria Toro -- A partir del número cinco, la dirección de la revista la asumió Félix Mejía -- Ninguno de los integrantes superaba los veintidós años y la mayoría no llegaba a los veinte -- El grupo de jóvenes se reunía en el café El Globo, propiedad de don Francisco Latorre y que estaba ubicado en la calle Boyacá; en la nomenclatura de la época, sus puertas correspondían a los números 208 y 210 -- El Edificio Central, donde estaba ubicado el café, era propiedad del general Pedro Nel Ospina -- El Globo, además de su actividad etílica, ejercía como biblioteca de alquiler -- El inolvidable investigador Miguel Escobar Calle, en un artículo sobre el grupo, reprodujo un curioso anuncio de la Biblioteca con las siguientes palabras: “La mejor de Medellín -- Mil ejemplares casi todos nuevos y todos limpios y todos en buen estado -- Obras científicas, viajes, novelas, historia, poesía etc., etc -- De los más connotados autores -- Tenemos el gusto de ofrecerla al público y muy especialmente a las damas de esta Capital” -- El ya reconocido novelista Tomás Carrasquilla, tío de Pepe Mexía, les pagaba el arriendo de una buhardilla ubicada en el tercer piso del mismo edificio para que sirviera de sala de redacción de la revista -- Allí mismo era la sede del periódico El Espectador, así como la oficina del doctor Lázaro Tobón, uno de los más reputados abogados de la ciudad, quien permanentemente se quejaba de los escándalos de sus juerguistas vecinos -- La revista representaba a su vez una tradición y una ruptura -- En efecto, era la continuación de una serie de publicaciones de carácter artístico-literario en la cual se pueden recordar títulos como El Repertorio Ilustrado, El Montañés, Lectura y Arte, Alpha etc -- Pero en su contenido, el grupo Panida quería dejar sentada su ruptura con sus antecesores en el campo de la literatura y las artes -- La generación anterior la representaban los fundadores de la narrativa antioqueña como Tomás Carrasquilla, Francisco de Paula Rendón, Samuel Velásquez o Eduardo Zuleta -- Es posible que el nombre de la revista, que a su vez da origen a la denominación del grupo, provenga del poema “Responso a Verlaine” de Rubén Darío, escrito poco después de la muerte del poeta francés y que en su primera estrofa dice: Padre y Maestro mágico, liróforo celeste Que al instrumento olímpico y a la siringa agreste Diste tu acento encantador; ¡Panida¡ Pan tú mismo, con coros condujiste hacia el propíleo sacro que amaba tu alma triste, ¡al son del sistro y del tambor! -- Literalmente los Panidas serían los seguidores o descendientes del dios Pan, representado en la mitología griega como un ser mitad hombre mitad macho cabrío, hijo de Zeus y la ninfa Calisto -- Se le asocia con la música y la poesía pues se la atribuye la invención de la flauta dulce, conocida también como flauta de pan -- Recordado por León de Greiff en su poema “Balada trivial de los 13 panidas”, el grupo de amigos estaba constituido por la heterogénea personalidad de cada uno de los integrantes -- Por eso, más que una propuesta estética definida, el grupo pretendía dar testimonio de su rompimiento con los cánones sociales y culturales imperantes en la pequeña Villa de la Candelaria de 1915 -- Los rimbombantes seudónimos, la barba y la pipa, las lecturas desafiantes y, en fin, desde la indumentaria hasta el lenguaje, reflejaban el afán esnobista de llamar la atención de la pacata parroquia -- En ese contexto se debe juzgar la importancia de Panida -- No es un opus consolidado -- Es la balbuceante expresión de unos jóvenes que iniciaban la construcción de una propuesta intelectual -- Unos continuarían su búsqueda estética hasta el final de sus días: León de Greiff en la poesía, Fernando González en el ensayo filosófico, Ricardo Rendón en la caricatura, Pepe Mexía en la ilustración y la arquitectura, Tartarín Moreira en la música popular -- Los otros buscarían su destino en distintas profesiones: José Manuel Mora Vásquez en el derecho, Jorge Villa Carrasquilla en la ingeniería, Jesús Restrepo Olarte en la industria, Eduardo Vasco en la medicina -- El número cien de la Colección Bicentenario pretende pues conmemorar los cien años de un movimiento cultural que rompía las estructuras patriarcales de una aldea apacible y abría el camino para las nuevas propuestas estéticas que traían los vientos de la modernidad, Revista Panida: 100 años -- Prólogo / Juan Luis Mejía Arango / 7 -- Panida Número 1 / 11 -- Panida Número 2 / 29 -- Panida Número 3 / 47 --Panida Número 4 / 65 --Panida Número 5 / 83 --Panida Número 6 / 101 --Panida Número 7 / 119 --Panida Número 8 / 137 --Panida Número 9 / 155 --Panida Número 10 / 173 --Dossier. Publicidades en la revista Panida / 189, p. 198

Teniendo en cuenta la estricta composición formal que caracteriza gran parte de la obra narrativa de Adolfo Couve, en este artículo revisamos el manuscrito de La lección de pintura (1979) y sus principales enmiendas, proponiendo un paralelo entre los ejercicios de la corrección del autor ("aprendiz" de realista) y el camino de aprendizaje de un niño genio de provincia (aspirante a pintor neoclásico) que es narrado en esta nouvelle. En la medida en que La Lección de pintura se pregunta por cómo pintar, y cómo escribir, desde Chile en relación a la herencia europea, también dialoga con las preocupaciones y los modos de representación en el arte y la literatura que animarán, más tarde, La comedia del arte (1995) - nouvelle en que el narrador nuevamente se identificará con un niño, pero ya no con un aprendiz que debe ser corregido. Considering the strict literary composition that characterizes a large part of Adolfo Couve's narrative work, in this paper we read the manuscript of La lección de pintura (1979) and its major amendments, proposing a parallel between the corrections carried out by the author (an "apprentice" of realist tradition, in his own words) and the coming-of-age story about a boy genius (an aspiring neoclassical painter) located within the Chilean provincial life that this novella relates. Insofar as La lección de pintura inquires about how to paint, and how to write from Chile in relation to European cultural heritage, it dialogues as well with the issues and modes of representation in art and literature that will be later at stake in La comedia del arte (1995) - a novella in which Couve's narrator will again identify himself with a child, but no longer with an apprentice that has to be corrected.

El Boletín Memoria es una publicación electrónica mensual, que informa sobre las actividades del Centro Cultural Pablo de la Torriente Brau y sobre los temas de sus proyectos: memoria, testimonio, artes plásticas, arte digital, nueva trova cubana, vida y obra de Pablo de la Torriente Brau.

Laurent Houssais : Archeology, literature and illustration : Salammbô as seen by G. A. Rochegrosse. The first high quality illustrated edition of Roman history by Flaubert appeared in 1900. The illustrations were signed by an historical painter, well known in the Salons, Georges-Antoine Rochegrosse. The discovery of unpublished manuscripts by Rochegrosse has allowed a comparison of the sources that were used, as well as the strong demands on archeological reconstitution, common to both the writer and the painter. In effect, this demand, frequently commented on by the critics, appears to have determined the value of the image. So that, notwithstanding a good deal of scholarly research, several examples show to what point Rochegrosse placed importance on the text rather than on the archeology or on the topography of the sites and how he was able to free himself from the Flaubertian suggestion. By the freedom of the choice of his sources, as well the idea of the relationship between image and text, Rochegrosse showed himself an attentive reader, conscious of the limits of an illustration that Flaubert himself had absolutely condemned., Houssais Laurent. Archéologie, littérature, illustration : Salammbô vu par G.-A. Rochegrosse. In: Histoire de l'art, N°33-34, 1996. Sur le XIXe siècle. pp. 43-54.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2019-03-25T20:15:23Z No. of bitstreams: 1 Tese completa- Claudia Calado.pdf: 19479819 bytes, checksum: e794373ac202879d1e3daaf268de5906 (MD5) Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2019-03-25T20:25:18Z (GMT) No. of bitstreams: 1 Tese completa- Claudia Calado.pdf: 19479819 bytes, checksum: e794373ac202879d1e3daaf268de5906 (MD5) Made available in DSpace on 2019-03-25T20:25:19Z (GMT). No. of bitstreams: 1 Tese completa- Claudia Calado.pdf: 19479819 bytes, checksum: e794373ac202879d1e3daaf268de5906 (MD5) William Blake era um caso de dopplebegabung, ou seja, era um artista de talentos múltiplos, no caso, era gravador, pintor desenhista e poeta. Demonstrava aptidão para as artes imagéticas e verbais e intenciou juntar ambas, de maneira inextricável, em sua obra Songs of Innocence and of Experience, a qual chamamos de verbo-pictórica dada a maneira como foi construída. O presente trabalho tem como objetivo a investigação de como se deu a feitura de uma obra em que textos verbais e pictóricos apresentam-se colocados em uma posição de complementaridade mútua, um ampliando a interpretação do outro. Buscamos observar, através do estudo de manuscritos referentes à obra em questão, se o homem das imagens predominava sobre o homem das letras, se ocorria o inverso, ou ainda, se ambas as habilidades artísticas eram desenvolvidas simultaneamente. Para isso, recorremos à Crítica Genética, campo do conhecimento dedicado ao estudo de processos de criação em geral. Seguindo as diretrizes propostas por tal área do saber, pudemos adentrar no universo dos documentos de processo aos quais tivemos acesso e, assim, fomos capazes de encontrar eixos do processo de criação de Blake, que nos ajudaram a ter uma compreensão, pelo menos parcial, de como funcionava sua mente criadora em ação. William Blake was a case of dopplebegabung, in other words, he was a multi-talented artist: engraver, painter, designer and poet. He demonstrated aptitude for both imagistic and verbal arts and had the intention to join them, in an inextricable way, in his work Songs of Innocence and of Experience, which we call verbal-pictorial given the way it was constructed. The present study aims at the investigation of how such a work was created, with its verbal and pictorial texts put in a mutual complementary position, one amplifying the interpretation of the other. We tried to observe, through the study of manuscripts related to the referred work, if the man of images was predominant over the man of words, if it was the other way around, or still, if both artistic abilities were developed simultaneously. For so, we resorted to a field of knowledge called Genetic Criticism, which is dedicated to the study of processes of creation in general. It gave us tools so we could penetrate the universe of documents of process, which we had access to, and so, we were able to find some main axes of Blake’s process of creation, which helped us have an understanding, at least partial, of how his creator’s mind worked.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2019-03-25T20:15:23Z No. of bitstreams: 1 Tese completa- Claudia Calado.pdf: 19479819 bytes, checksum: e794373ac202879d1e3daaf268de5906 (MD5) Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2019-03-25T20:25:18Z (GMT) No. of bitstreams: 1 Tese completa- Claudia Calado.pdf: 19479819 bytes, checksum: e794373ac202879d1e3daaf268de5906 (MD5) Made available in DSpace on 2019-03-25T20:25:19Z (GMT). No. of bitstreams: 1 Tese completa- Claudia Calado.pdf: 19479819 bytes, checksum: e794373ac202879d1e3daaf268de5906 (MD5) William Blake era um caso de dopplebegabung, ou seja, era um artista de talentos múltiplos, no caso, era gravador, pintor desenhista e poeta. Demonstrava aptidão para as artes imagéticas e verbais e intenciou juntar ambas, de maneira inextricável, em sua obra Songs of Innocence and of Experience, a qual chamamos de verbo-pictórica dada a maneira como foi construída. O presente trabalho tem como objetivo a investigação de como se deu a feitura de uma obra em que textos verbais e pictóricos apresentam-se colocados em uma posição de complementaridade mútua, um ampliando a interpretação do outro. Buscamos observar, através do estudo de manuscritos referentes à obra em questão, se o homem das imagens predominava sobre o homem das letras, se ocorria o inverso, ou ainda, se ambas as habilidades artísticas eram desenvolvidas simultaneamente. Para isso, recorremos à Crítica Genética, campo do conhecimento dedicado ao estudo de processos de criação em geral. Seguindo as diretrizes propostas por tal área do saber, pudemos adentrar no universo dos documentos de processo aos quais tivemos acesso e, assim, fomos capazes de encontrar eixos do processo de criação de Blake, que nos ajudaram a ter uma compreensão, pelo menos parcial, de como funcionava sua mente criadora em ação. William Blake was a case of dopplebegabung, in other words, he was a multi-talented artist: engraver, painter, designer and poet. He demonstrated aptitude for both imagistic and verbal arts and had the intention to join them, in an inextricable way, in his work Songs of Innocence and of Experience, which we call verbal-pictorial given the way it was constructed. The present study aims at the investigation of how such a work was created, with its verbal and pictorial texts put in a mutual complementary position, one amplifying the interpretation of the other. We tried to observe, through the study of manuscripts related to the referred work, if the man of images was predominant over the man of words, if it was the other way around, or still, if both artistic abilities were developed simultaneously. For so, we resorted to a field of knowledge called Genetic Criticism, which is dedicated to the study of processes of creation in general. It gave us tools so we could penetrate the universe of documents of process, which we had access to, and so, we were able to find some main axes of Blake’s process of creation, which helped us have an understanding, at least partial, of how his creator’s mind worked.

International audience