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This paper is an attempt to provide an alternative and enriched genealogy of the utopian masterplan for Cold War era Berlin titled “The City in the City: Berlin, the Green Archipelago,” which the German architect Oswald Mathias Ungers developed in the latter half of the 1970s. This highly speculative project concerned with Berlin’s charged voids is dissected through a series of micro-histo[1]ries relative to the precedents that inform its fragmentary nature. Rather than a singularity or the product of a mastermind aided by disciples, as it has thus far been approached in the historiography of architecture, I shall position it as a centerpiece in a series of projects that unveil a shared repertory of formal operations and intellectual concerns. In tandem, the paper provides a lexicon for the term fragment as it has been perceived, theorized, and deployed in this sociopolitical and historical context, namely six distinct definitions, effects, and states of the fragment - fractures, ruins, debris, lacunae, elements, and the notion of the unfinished. Through this scope, I consider the preoccupation with formal disjunction between parts and whole in architectural discourse during the second half of the twentieth century, particularly as it relates to the experience and design of the city. The latter, I argue, is informed by a critical stance to the technophiliac and abstrac[1]tionist tendencies of Modern architecture and a swerve towards a renewed interest in history and the palimpsestic quality of the urban tissue in the aftermath of World War II.

The palimpsest, a manuscript on which the original writing has been erased to make room for later writing, is proposed as a metaphor and method of reading the landscape in layers, based on indicators related to the occupation of a place by different societies. In the case of Mexico City, with seven centuries of continuous settlement, four successive stages of occupation are identified that are confirmed by their successive place names. This palimpsest narrative offers a reverse chronological reading of the spatial organization of the city that has led to changes in the landscape, some visible and others buried. [ABSTRACT FROM AUTHOR]

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Restructuring routes are significant urban elements that lead to physical changes in cities to meet modern needs, often resulting in traumatic transformations. This study investigates the morphological impact of the palimpsest phenomenon on Istanbul's Atatürk Boulevard, an exemplar of restructuring routes. The Boulevard's construction disrupted the organic urban fabric, creating a new structure and altering the area's identity. By employing a typomorphological analysis based on Conzen's Town Plan Analysis, this research examines changes in the street, building, and subdivision systems. The study utilizes historical and contemporary maps to reveal the effects of Atatürk Boulevard on urban morphology, demonstrating both positive and negative consequences of restructuring routes. Findings indicate that the boulevard increased the economic value of the area but also led to the fragmentation and loss of historical urban elements, contributing to a complex urban palimpsest. The study highlights the need for sensitive urban planning to preserve the city's historical identity while accommodating modern developments. The insights gained are crucial for architects and urban planners in managing urban landscapes, ensuring sustainability, and respecting historical contexts in future developments. [ABSTRACT FROM AUTHOR]

Restructuring routes are significant urban elements that lead to physical changes in cities to meet modern needs, often resulting in traumatic transformations. This study investigates the morphological impact of the palimpsest phenomenon on Istanbul's Atatürk Boulevard, an exemplar of restructuring routes. The Boulevard's construction disrupted the organic urban fabric, creating a new structure and altering the area's identity. By employing a typomorphological analysis based on Conzen’s Town Plan Analysis, this research examines changes in the street, building, and subdivision systems. The study utilizes historical and contemporary maps to reveal the effects of Atatürk Boulevard on urban morphology, demonstrating both positive and negative consequences of restructuring routes. Findings indicate that the boulevard increased the economic value of the area but also led to the fragmentation and loss of historical urban elements, contributing to a complex urban palimpsest. The study highlights the need for sensitive urban planning to preserve the city's historical identity while accommodating modern developments. The insights gained are crucial for architects and urban planners in managing urban landscapes, ensuring sustainability, and respecting historical contexts in future developments

Copyright of Cities, Communities & Territories / Cidades, Comunidades e Territórios is the property of Instituto Universitario de Lisboa, DINAMIA-CET and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Orphic studies specialists have recently been fortunate due to Giulia Rossetto's discovery of an unknown hexameter text within a palimpsest, which had Arabic script on its surface. This text stands out for its artificial literary language, typical of the epic tradition, and the presence of direct speech. Its archaic style is characterized by the reuse of Homeric formulas and echoes phrases from various texts, such as the Rhapsodies, Nonnus' Dionysiaca, and the Orphic Hymns (Rossetto, 2021). The intertextual links between the Sinai hexameters and these texts, especially the direction of their influence, are yet to be established. This paper will detail the codex's condition, describe the text's material features, summarize its content, and explore the academic discussion it has ignited. [ABSTRACT FROM AUTHOR]

The Handmaid's Tale inhabits an imaginary space defined by biblical narratives and set in the near future, when low fertility has reached a critical point. The solution provided by the Bible-based totalitarian regime in Gilead is to offer "handmaids" as surrogate mothers to members of the ruling elite. The biblical basis is chillingly re-enacted through the set reading of Genesis 30:1-3 that precedes and legitimises the ritual rape of the household-dedicated handmaiden. While this text from Genesis clearly provides the rationale for addressing issues of fertility in Gilead, I focus here more specifically on how the book of Judges (specifically Judges 19-21) is marshalled to provide an implicit framework for The Handmaid 's Tale. This article analyses the complex ways in which the Bible is used and abused in both the novel and the fourth season of the TV series, using literary and feminist lenses. It will be argued that both narratives, the book of Judges and Atwood's tale, contain elements of subversion and deconstruction. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Theatre Criticism & Dramaturgy / Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is the property of Journal of Theatre Criticism & Dramaturgy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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W artykule poddano analizie pisarskie ekspresje sąsiedztwa nad Dniestrem zawarte we fragmentach Wspomnień Odessy, Jedysanu i Budżaku. Dzienniku przejażdżki w roku 1843 od 22 czerwca do 11 września (1845–1846) Józefa Ignacego Kraszewskiego oraz w eseju Jerzego Stempowskiego W dolinie Dniestru (1941). Najwięcej uwagi poświęcono rozmaitym formom przyległości obecnych w topografii brzegów Dniestru – środkowego w szkicu Hostowca oraz dolnego, otoczonego limanem, w dzienniku Kraszewskiego. Płynności języków używanych przez reprezentantów różnych grup etnicznych i warstw społecznych zamieszkujących oba brzegi Dniestru, a także wielości wyznań religijnych – tego dotyczy środkowa partia artykułu. W ogniwie trzecim postawiono tezę o próbach uchylenia dominacji historii przez obu pisarzy i wskazano na silną skłonność obu do operowania motywem ruiny. Sąsiedztwo pasjonuje zarówno pisarza dziewiętnasto-, jak i dwudziestowiecznego. Obaj twórcy osiągają także efekt przyległości i płynności w ramach kompozycji i stylu swoich wypowiedzi.

Analysing Julian Barnes’s postmodernist novel, Flaubert’s Parrot, this essay shows that the past is exposed as a story and a palimpsest. We demonstrate that in Julian Barnes’s novel, the past is rewritten as a story with various truths about Flaubert’s identity and biography. The past is presented through a series of symbols, being a palimpsestic construct open to our analysis and understanding. The concepts of historical truth, the past, the present, the writer’s voice are approached in a postmodernist manner and are nothing but a palimpsest.

A critique of Tony Blair’s collaboration with George W. Bush in the War on Terror, Robert Harris’s The Ghost (2007) goes beyond its topical subject by exploring the connections between ghostwriting and spectrality. The unnamed protagonist of Harris’s novel is a professional ghostwriter who, after being commissioned to revamp former Prime Minister Adam Lang’s memoirs, becomes enmeshed in various forms of spectrality. While isolated with his hosts in a fortress-like compound on Martha’s Vineyard during the island’s bleak off-season, the ghostwriter experiences the Uncanny firsthand. In the end he compiles a 160,000-word book, not realizing that with the project’s completion he is signing his own death warrant by writing a work about the pursuit of truth. The novel’s coda differs from that of Roman Polanski’s 2010 film adaptation, but Harris’s narrative captures the universality of literary Gothicism.

The research field of geopoetics as the theory of studying creative forms and ways of human interaction with the geographic space, the multidimensional concept shaped by the syncretic perception of reality, is expanding dynamically in the aspect of space interpretation and modeling. Such research prism facilitates addressing projective meanings of the modeled reality, studying geopoetic image as a cultural sign, process and result of aesthetic display and representation of reality. Taking into account the relevance of the problem, the authors of the article set a goal to investigate the semiotic triad of St. Petersburg, the emotional component of the axiological model and its semantic transformations: Petropol’ - Petrograd - Leningrad, that permits to present a multilateral description of geopoetic image modifications. The research logic is dictated by the fact that the conceptualization of space in its various manifestations is associated with the study of the territory as an object of aesthetic reflection. The study analyzes creative embodiment of a particular toponym in its dual rational and emotional essence as a fact of verbal art. Transformation and treatment of geopoetic image meanings of St. Petersburg based on the spheres of urban semiotics are analyzed in the aspect of giving new meanings and semantics to the place in the context of spatial and cultural historical relations and models. The authors argue that geopoetic image is a special representation of geographical space in its historical and cultural, value and semantic nature and fusion in their unity. The existing territory can be presented as a compact axiological model through the “prism” of socio-cultural values, signs and symbols. Actualization of the palimpsest concept based on the combination of textual layers, research of peculiarities of structural meaning modeling enable addressing the reconstruction of the semiotic system and variant semantics of “city mirror” texts.

Ezra Pound’s “Pisan Cantos” is a multi-layered palimpsest rewritten and written over previous editions several times, in which the non-translation of quotes, sayings and headlines becomes an aesthetically significant device. Younger branches of complex poetry after 1945, on the one hand, overcome Pound’s total project, on the other, inherit him through this ‘gap’. Within the framework of this article, the author explores how hermetic poetry (language writing, metarealism and generation of the 21st century) uses non-translation and untrans­latable to create/express political and ontological problems corresponding to this gap. So, in “Drafts” by Rachel Blau DuPlessis, palimpsest exposes the very deployment of language, writing, the ‘trace’ of other languages — all this develops together with the optics of studying writing and the loosening of the dominant hierarchies of poetic subjectivity and artistic form. In the poetry of metarealists Arkady Dragomoshchenko and Alexei Parshchikov, non-translation serves as a way of creating palimpsest marginalia, structuring the perception of interweaving images both through donor text and through the transformation of its motives. And the discommunicative palimpsest of Ekaterina Zakharkiv’s poem “Hiroo Onoda” is based on the unrepresentative function of the non-translation, when the collision of different lan­guages, quotes and references creates both difficulty in perception and communicative faults in the narrative fabric of the work. Thus, the article is an attempt to derive points on a con­tour map of poetic practices, showing both the formation of a way of inter-linguistic inte­rac­tion within the text that is different from multilingualism, and the ways of inheritance through the rupture of the complex and ambiguous nature of Ezra Pound’s “Cantos”, which gave rise not only to a new type of modernist epic, but also a special type of poetic palimpsest.

The study is devoted to the examination of allusions to the Trojan myth in the legendary toposphere of Kyiv, the foundation of which goes back centuries and is immersed in the mythological layer of the historical development of mankind. Kyiv has become not only the centre of structuring the proto-state of Ukraine but also a symbol of the establishment of the socio-cultural identity of its inhabitants. Therewith, for centuries Kyiv has had a special place in a number of iconic cities on the European continent, which determines the relevance of the study of its cultural topoi. The purpose of the study is to identify, analyse, and synthesise mythological patterns on Trojan issues in the sociocultural landscape of the city of Kyiv and their influence on the processes of forming collective self-consciousness and proto-national identity. The study analyses the reception of the Trojan myth based on Kyiv toponymy and mythopoetics, chronicle sources, and literary works, which allows for constructing its mythological palimpsest, which without the Trojan theme would be devoid of an expressive layer. The study traces the transformation of mythological representations from the era of Kyivan Rus, which were later in demand on the territory of Ukraine during the Baroque period. Ultimately, a retrospective study of the field of proto-national myth in variations of mythologems as its constituent elements allows for reaching a deeper level of collective mentality, which is the basis for the development of national identity through awareness and adaptation of deep symbolic structures. The Trojan theme has not yet been represented in urban studies of Kyiv, although it has a certain number of manifestations in the cultural environment of the city. The study is based on the use of general scientific methods of analysis and synthesis of cultural information. The interpretive method is used for modelling theoretical constructs. From special methods, mythorestavration was chosen as a priority. The hypothesis presented in the study and its approbation are authentic and are presented for the first time

This article focuses on the formation of identity as a stratified discourse between the singular and the collective, and how that exchange is expressed as a visual palimpsest by the artists Annette Cords, G Farrell Kellum, and Njideka Akunyili Crosby. Through their artworks, each artist explores their own identity formation, but also identity formation of those living amid the Postmodern condition of the Western world in the late stages of capitalism. All three artists explore how the collective is manifested in their singular identities by weaving in the personal, intimate, and everyday vernacular into their artworks while also including remnants of wider cultural influences. In the contemporary moment, the dynamic process of identity formation remains betwixt any sort of settled or concretized state. This unresolved status is also reflected in the conceptualization and construction of the artworks by Cords, Kellum, and Akunyili Crosby. The messy interplay between the singular and collective is presented in their artworks as unexpected juxtapositions of diverse information, images, materials, and mark-making. [ABSTRACT FROM AUTHOR]

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Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper draws attention to the intertextual connections between Karahasan's novel "Eastern Diwan" and Kiš's story "Simon the Miracle Worker," the first in the thematic collection "Encyclopedia of the Dead," based on thematic, motive and structural similarities. Both literary works are characterized by documentary, a recognizable postmodernist procedure that results in the demystification of the basic text. As a result, the postmodernist tendency for one text to aspire to another as a reflection of reality or an idea is highlighted. By complicating the story and inserting texts written into each other, a structure that mimics the idea of both literary works where the variations arise from the Truth is ensured and that each has its own relationship to the Truth while building another story as a variant or an Illusion.

The Cuban-born playwright María Irene Fornés (1930-2018) repeatedly dealt with migration in several plays throughout her long career in theater, sometimes presenting characters who were immigrants living in New York (Sarita) or resorting to correspondence between distant relatives separated in different countries (La Viuda, Letters from Cuba). Manual for a Desperate Crossing was her response to the Cuban Rafter Crisis of the mid-1990s. The article analyzes how the playwright makes use of a combination of objective and subjective strategies to counteract the dehumanizing effect of media coverage, shifting the focus to the individuals who risked their lives in the perilous crossing of the Caribbean Sea in rickety rafts from Cuba to the Florida shores. The emphasis on the transit as a theme and the mixture of instructional, technical discourses with highly stylized stage design and different audiovisual media forces us to look in a different, immersive way that generates empathy towards the refugees.

This article analyses Julian Barnes’s England, England and shows that it recreates England as a palimpsest, presenting to us a parody of the past and circulating an ironic story of a possible version of this country with a rewritten history. Julian Barnes redefines history and the role of the historian in a novel which illustrates the idea that history is a story.

The present article aims to analyse Vera Feyder's text Règlement de contes by placing it in a vast French literary context and by highlighting the links that attach it to its praetexts - works on which it draws and which precede it. The examination carried out reveals that the play presented to the public in 1984 was written after the increased theoretical and literary interest in the tales of the 70s. On the other hand, its original form of radio broadcast revives the care to cultivate the oral tradition. The analysis of the work itself reveals the mix of sources with different generic membership as well as multiple levels of hypertextuality. The transformations introduced at the level of the constituent elements of the action make it possible to speak of the change in the motivations of the protagonists while the ideological and aesthetic scope of the story is focused on the spirit of resourcefulness and the universality of the genre. Consequently, the adaptation of tales proposed by Vera Feyder (Puss in Boots, Little Red Riding Hood and Sleeping Beauty by Charles Perrault and "Bon conseil aux amants" by Victor Hugo) falls under the art of palimpsest and makes it possible to classify it among the dramatic parodies of tales (according to Béatrice Ferrier's typology). [ABSTRACT FROM AUTHOR]

Jeanette Winterson's latest novel, Frankissstein: A Love Story (2019), was written as a contribution to the world-wide celebrations of the second centenary of the publication of Mary Shelley's Frankenstein. Evincing the characteristic excessiveness and parodic stance of the postmodern romance, it alternates two interlocked story lines. The first, narrated by Mary Shelley, is situated during her own life span and populated by Mary herself, Percy Bysshe Shelley, Lord Byron, John William Polidori and Claire Clairmont. The second, situated in 2018, is narrated by Dr Ry Shelley, a transgender medical doctor who sells body parts to Prof. Victor Stein, a cutting-edge researcher in Artificial Intelligence. The essay argues that for all its parodic doubleness, temporal circularity, thematic enmeshment and palimpsestic structure, the novel draws a clear-cut distinction between the Idealist conception of subjectivity endorsed by the male Romantic poets that leads to Prof. Stein's transmodern conception of a future universe colonised by bodiless enhanced humans, and Mary Shelley's affectively charged conception of embodied subjectivity that foreruns Ry Shelley's posthuman conception of fluid subjectivity. [ABSTRACT FROM AUTHOR]

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This article explores two films by Mexican director Alonso Ruizpalacios that, despite being recent productions, focus their plots on pivotal events in Mexican history. Going back to the year 1999 in Güeros (2014) or to 1985 in Museo (2018), I propose that the exercises of inscription of multiple temporalities between the image and the horizon of enunciation of the director, function as readings of a palimpsest that reveals, on the one hand, the ability of cinema to illuminate the multiple temporalities of spaces, and on the other, a conflictive temporal regime for the subjectivity of the young protagonists of the films, the neoliberal era. I resort to the concept of entangled temporality (Mbembe, 2001) to elucidate the function of the multiple temporalities that intertwine and shape the urban palimpsest that is Mexico City.

"Cambio de Tiempo" is the name of a song by Astrud that I recommend listening to. Under this title I have gathered six urban chronicles -more inclined to literature than journalism- related to Mexico City and its quality of palimpsest: the anniversary of the city, the infraordinary from my window, the nomenclature and commercial vocation of some streets, a forgotten legend, the social pulse of the covid-19 pandemic in 2021, and the earthquake of 2017. Almost all set in the Historic Center, which is where I live, and written between 2014 and the current year. Some of these fragments are part of my next book.

A critique of Tony Blair's collaboration with George W. Bush in the War on Terror, Robert Harris's The Ghost (2007) goes beyond its topical subject by exploring the connections between ghostwriting and spectrality. The unnamed protagonist of Harris's novel is a professional ghostwriter who, after being commissioned to revamp former Prime Minister Adam Lang's memoirs, becomes enmeshed in various forms of spectrality. While isolated with his hosts in a fortress-like compound on Martha's Vineyard during the island's bleak off-season, the ghostwriter experiences the Uncanny firsthand. In the end he compiles a 160,000-word book, not realizing that with the project's completion he is signing his own death warrant by writing a work about the pursuit of truth. The novel's coda differs from that of Roman Polanski's 2010 film adaptation, but Harris's narrative captures the universality of literary Gothicism. [ABSTRACT FROM AUTHOR]

Spatial mythopoetry coexists with the new humanitarian field of mythogeography, which is a particular view of space as text. Mythogeography of cities has developed mental spaces and beliefs that originate from certain "sacral temenoi" as prototypes of future cities. The objective of this paper is to study the mythogeography of Kyiv, specifically the reception of the universal "Trojan myth" in the socio-cultural space of the city. The methodological approach includes the general scientific typological (stability of cultural attributes), integrative (community of cultural features), and specialized method of mythological rehabilitation that allows for discovering the mythological signs, allusions, images, plots that gain considerable and multilayered meaning. The scientific novelty of the study is to reveal the connections between various modifications of the "Trojan myth" and the cultural landscape of Kyiv, based on mythopoetics and toponymic analysis. The mythogeography of Kyiv corresponds to the model of palimpsest, where spatial images are temporally layered on a matrix of the cultural landscape. During the late Middle Ages and the Ukrainian Baroque, the "Trojan myth" was activated according to the Renaissance European tendencies of searching for the ancient pedigree of cities, states, and peoples. The archetypical "Trojan myth" became increasingly influential in Ukrainian lands. For instance, during the Enlightenment age, the Trojan theme received a political and patriotic extrapolation as "Ukraine being the new Troy" in the poems "Eneida" (1798) by Ivan Kotliarevsky and "Cassandra" (1908) by Lesia Ukrainka. The mythological pattern of Kyiv, which goes back to Antiquity, thus proves cultural significance of the city in pan-European dimension. [ABSTRACT FROM AUTHOR]

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Lech Majewski's The Mill and the Cross (2011) is a full-length feature film, a screen adaptation of Pieter Bruegel's painting The Way of the Cross (1564). Majewski proves to be an excellent interpreter of Bruegel's art, whom he considers a philosopher, an epic, and a poet. He relies on the research of Michael F. Gibson, and in his plotting he draws on a long-standing tradition of literary experience and digital technology (without this, it would have been impossible to faithfully reproduce the overall plan and realities of the painting). Majewski exposes the palimpsest nature of the narrative and shapes the film like a contemporary novel of space. In order to make the ideas of the screened painting comprehensible and to emphasize the fictionality of the depicted world, he introduces various versions of "literature about literature". In the film, he perfectly integrates painterly features (word reduction, stop motion, long static camera shots) and literary features (the structure of an episodic novel of manners). [ABSTRACT FROM AUTHOR]

This article focuses only on Deepa Mehta's importance as a film-maker of Indian diaspora now indwelling in Canada. This paper shall interlock with the films made between 1996 and 2008, i.e., Fire (1996), Earth (1998), Bollywood/Hollywood (2002), Water (2005), Heaven on Earth (2008). Needless to reiterate, that these five films, too, like the others in her oeuvre, have brought her many awards. Though it is imperative to look at the entire oeuvre of an artist, this selection is hoped to prove adequate for the defining purposes of this work, and would 'throw' glimpses that could enable others to construct the missing elements. [ABSTRACT FROM AUTHOR]

The paper discusses Silviu Purcarete's 2012 theatrical production Călătoriile lui Gulliver/Gulliver's Travels, staged at the "Radu Stanca" Theatre in Sibiu, Romania, as an appropriation of Swift's famous satire, which uses fragments from it and from three other of his satirical texts, brought together in a multi-layered palimpsestic intertext. This intertext makes use of the title story as a frame narrative for a series of "scenic exercises" that deconstruct and critically as well as artistically reinterpret the writer's misanthropic vision of the human condition, pointing to its philosophical relevance in a contemporary context and to the director's philosophical affinity with the Anglo-Irish satirist. [ABSTRACT FROM AUTHOR]

This article provides speculative theorization on the relationship between concepts of ‘nakedness’ and the human body. It focuses on the theoretical value of the palimpsest as a symbol through which to parse the various ways that the human body can be marked, inscribed, read and reread. In so doing, this article attempts to speculate on the manner in which being, in relation to onto-existential precarity and danger, is fluid, mutable, alterable, as well as some theoretical consequences thereof. It opens by describing the theoretical significance of the palimpsest before moving on to speculating on its relationship to the onto-existential ‘nudity’ of embodied being. It closes with some further speculations on whether or not the precarity of embodied being subtends forms of being that do not require embodiedness in order to be.

Attitudes towards the naked body vary from culture to culture. Even within one culture, the nakedness often symbolises very different and sometimes arbitrarily contradictory things. It can be associated with eroticism, sanctity, aggression, a certain type of culture (from savagery to elitism), etc. Focusing on specific cinematic examples, the author examines the symbolism of naked male and female bodies in horror films. The author concludes that while nudity may serve to attract viewers to the cinema, it does not necessarily equate to sexuality. The nudity is frightening in its vulnerability, but it also shows how little we know about our own bodies. In cinema, the naked body is often tortured, objectified, manipulated or even sacrificed to maintain social order or nature's fertility. Female nudity in films is linked to fears of female sexuality and fertility. Often, the encounter with the naked female body turns out to be fatal for male characters, leading to their corporal transformation or loss of identity. In any case, the naked body is something out of the norm, it is marginal and destabilizing and so it scares us.

The aim of the article is to determine the functions of the nude and naked body image in the A. Pushkin legacy. The main tasks are to reveal regularities in the choice of motifs, images and perspectives, to correlate them with the author's world viewpoints and the evolution of his views, to connect them with philosophical and aesthetic dominants of his art. The works of art, as well as critical and travel notes, letters, sketches, drawings served as the basis for the study. The biographical and mundane context was involved. Orientation to the consistency and integrity of the analysis determines the novelty of the study. It is noted that the concept of “nudity” acquires the author conceptuality that correlates with form simplicity and naturalness. Pushkin tends to aestheticize the female body. It is proved that the intensity, selectivity, measure of spatial distance in its depiction are determined by a specific life stage, literary type, genre, attitude towards the subject of the image. The assumption is substantiated that the problem of visual perspective is not least related to fashion trends. “Serene” nudity in the works of Alexander Pushkin is usually a sign of foreignness, otherness; attractive is associated with the realm of the infernal, here the poet is influenced by folk mythology and the Gothic. In erotic descriptions the movements, the nervous and mental atmosphere are very important. The variety of the naked body interpretations can be compared with a palimpsest, especially since Pushkin's sketches clearly testify to his refining predilection.

The article takes a look at four literary texts and analyses them from the perspective of literary flaneurship. In doing so, the study accentuates the category of subject and space of the city from the point of view of their mutually given constitution and the parameters of media fixation of the flaneur act. Textual analysis is based on the understanding of flaneurship as a way of reorganising of the objective city space. The article looks at Ján Rozner’s autobiographical novels Sedem dní do pohrebu ([Seven days to the funeral] 2009) and Noc po fronte ([Night after the front] 2010) in the context of textual creation of Bratislava as a palimpsest, uncovering layers of city’s history in the intersection between personal memory and history. Stanislav Rakús’ novel Temporálne poznámky ([Temporal notes] 1993) is read primarily through the prism of literary flaneurship seen as a way of resisting disciplinary mechanisms of totalitarian power attempting at utilitarian structuration of space and time. The analysis of Peter Macsovszky’s Mykať kostlivcami ([Making skeletons dance] 2010) accentuates the intertextual handling of the space.

In order to contribute to a definition of poetic revolt in Mexico today, we intend here to explore and discuss rebellious companionships of contemporary poetry in three “seasons of the riots”: marxist infusion against neoliberal globalization; poem shaped by a new solidary community; resistance of vernacular verses to tropicalization, when the ethos of the contemporary poem rises as undermining, survival manual or deep breathing. From the tezontle language of Ó. de Pablo to the model of mixe «communality» theorized by C. Rivera Garza, from J. Herbert’s extraordinarily dialogical deciphering of ancient glyphs to Irma Pineda’s Binnizá writing, the poetic gestures reveal a certainly unexpected anchoring in indigenous traditions. Facing the dominant interpretation of Modernity, the revolt of the contemporary production reconfigures Politics through the Sensible, is first of all resistance, recovered humanity, oblique effects of a counter-poem.

This reading of Lisa Strømme’s debut novel The Strawberry Girl (2016) is informed by Gérard Genette’s approach to literature as ”hypertextual,” by which the literary theorist means that any text evokes “some other literary work” (Palimpsests: Literature in the Second Degree 9). To weave the story of how Munch painted the first version of his iconic Skrik (The Scream) at Åsgårdstrand, Strømme read Munch’s journals, newspaper archives, an old memoir by a local woman, Inger Alver Gløersen, whose stepfather was a friend of Munch’s, she explored Munch events and exhibitions, Munch’s paintings, and she had talks with local people. Aside from these non-literary sources, the writer referenced Goethe’s Faust, the legend of Peer Gynt, the Poetic Edda, Dostoevsky, and she prefaced each chapter of the novel with a quote from Goethe’s Theory of Colours. This kind of multi-layered writing lends itself to what Genette calls, using Philippe Lejeune’s coinage, “a palimpsestuous reading” (399) done by readers whose barthesque “jouissance” leads them into the temptation of loving “(at least) two [texts] together” (399), and, in this case, a lot more than two, and not just texts, but also the enthralling art of painting, in a synesthetic experience.

Public space is an essential social infrastructure for the continuous negotiation of city life and democracy because it offers (ideally) an interactive platform for people from diverse social and cultural backgrounds and the forms of public life they cherish. This contribution inquires how public space’s design and materiality play a fundamental role in popular struggles for social justice. By focusing on the differentiated access of women to public space, the role of gender in its design, and appropriation through a feminist intersectionality lens, this article aims to understand better the complex interplay between urban space and its non‐human material agency vis‐à‐vis citizen mobilizations, movements, and socially engaged art interventions. Drawing from extensive participant observation and spatial analysis, the exemplary public space of Shahbag Chattwar (a public square/plaza) will shed light on the “gendered spatiality” of pivotal popular mobilizations and reclamations from the historical momentum of the 1952 language movement, over the 2013 contemporary Shahbag protests, and to the 2020 anti‐metro rail protests at the Dhaka University campus. Analyzing urban space as a “palimpsest,” this research reflects on both historic and ongoing scenarios of popular protests as they repeatedly occupy public space and leave spatial traces through spatial design and art. In sum, the article seeks to gain insight into public space as a principal site of contestation and negotiation of juxtaposed layers of gendered dynamics, civil rights, secularism, and fundamentalism.

This paper is an analysis of Hamlet gliwicki [eng. Gliwice Hamlet] (Messel 2008) by the Polish-German writer Peter Lachmann (b. 1935). The article presents the genesis of the drama inspired by the fate of a Wehrmacht soldier lost during the Battle of Stalingrad in January 1942. This is the writer’s father Ewald Lachmann. In addition to the parodic means used in the play, the intertextual links between Gliwice Hamlet and William Shakespeare’s Hamlet are discussed, as well as the topoi of Shakespearean tragedy interwoven with episodes from Lachmann’s biography and events from the history of Gliwice. The figure of Hamlet takes on the role of a mask and functions as a universal archetype behind which the play’s creator himself hides. The bilingualism of Peter – the play’s protagonist – and the overlapping of two identities, Polish and German, are examined in terms of a palimpsest. The analysis shows that Lachmann’s drama is characterised by the lack of a linear course of events and their anchoring in a fluid, liminal space-time. The protagonist’s identity transformations are accompanied by the transformation of his immediate environment, as the German city of Gleiwitz turns into the Polish city of Gliwice.

This paper intends to underline the importance of historic public spaces as the deposits of collective memories, proposing the critical analysis, reinterpretation, and systematization of relevant informative historical layers as a counter model to the globalizing tendencies and their fast pace of transformation. Baharestanis a historic square located in the northeast of Tehran’s Historic Center, and it is the home to Iran’s Parliament and the Ministry of Culture. It makes the square significant at the national level, especially due to its location surrounded by several exquiste historical heritage buildings. However, following the decline of Tehran’s historic center, Baharestan lost its socio-cultural vitality and spatial quality, hosting urban functions mainly heterogeneous to its identity, and eventually turning into a traffic node. Through the comparative study of numerous historical documents, and adapting the concept of “palimpsest”, Baharestan Square has been interpreted as the assemblage of different city layers in relation to the environmental and socio-political narratives of the city. The shift from one layer to another intends to reflect some of the lost memories of Tehran and its collective identity in the transition from traditional to modern society. Later on, the paper argues how this palimpsest quality and co-evolution of those plural layers and narratives in Baharestan demonstrate this symbolic square as a “catalytic social infrastructure”, giving Tehran an opportunity to overcome the challenge of “social amnesia” and promoting its civic culture and cohesion.