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The Ottoman defeat of the British and French imperial forces during the Gallipoli campaign of 1915, known in Turkish as the Çanakkale Wars, had already shown how the theatres of war would extend beyond Europe. While much of the poetry in English that came from Gallipoli is well known in the Anglophone world, the Turkish poetry from Çanakkale is less well known outside Turkey itself. This article analyses selected Gallipoli poems written in both languages in order to show how they had similar recourse to overlapping narratives of history and myth in their efforts to place the experience of war within a wider transhistorical and transcultural framework. By reflecting on the different uses of this double palimpsest, it aims to show how a transnational and transcultural approach to memorial culture can develop our understanding of how the Great War was written.

The Cordillera region of the Northern Philippines features ethnolinguistic weaving traditions which are now moving towards extinction. A practitioner-led research project developed a weaving tool-k...

Lucille Ball’s 1953 testimony to the House Un-American Activities Committee is a rhetorical puzzle. How was a woman with documented Communist affiliation able to avoid being blacklisted? The intert...

A palimpsest is a historical manuscript in which the original text (termed under-text) was erased and overwritten with another script in order to recycle the parchment. One of the main challenges in studying palimpsests is to reveal the under-text. Due to the development of multi-spectral imaging, the original text can sometimes be recovered through material differences of inks and parchment (Easton et al., in: 2011 19th European signal processing conference, IEEE, 2011). However, generally, the revealed text can be observed only partially due to the overlap with newer text and degradation of the material. In this work, we propose revealing the under-text completely using deep generative networks, by leveraging prior spatial information of the under-text script. To optimize the under-text, we mimic the process of palimpsest creation. This is done by generating the under-text from a separately trained generative network to match it to the palimpsest image after mixing it with foreground text. The mixing process is represented by a separate neural network, that is optimized with the under-text image to match the original palimpsest. We also add an additional background generative network to compensate for the unevenness of the background. We propose a novel way of training the background generative network, that does not require isolated background samples and can use any region with layers of text. This paper illustrates the first known attempt to solve palimpsest text layer separation with deep generative networks. We evaluate our method performance on artificial and real palimpsest manuscripts by measuring character recognition and pixel-wise accuracy of the reconstructed under-text.

Orhan Pamuk’s novel, The Black Book is a postmodern chronicle of Turkey in which the author uses the structure of a detective novel to delineate the themes of identity, culture and hybridity. The paper aims to depict how Pamuk foregrounds that identities are never determinate but are forever eluding by presenting a love triangle which disappears underneath a mystical quest for one’s true self. Galip’s assuming the persona of his alter-ego, Celal; Prince Osman’s pursuit of true knowledge through reading diverse books and ultimately rejecting them; and Bedii Usta’s disillusion with the State for disapproving the mannequins, all represent the interlacing of cultures and interdependence of identities in contemporary Turkey. Moreover, in the novel, the rich Ottoman tradition and Islamic literature are also revisited in a postmodern light so as to present the allegorical and political connotations inherent in them. The paper also examines how the novel portrays the forced westernization and erasure of history and memories through the use of film ekphrasis to highlight how the Turkish citizens were lured by the Western cinema and indoctrinated about the superiority of the West so as to generate in them a sense of anxiety about their identities.

Digital literature is one of the fields of contemporary literature, whose texts have, in their elaboration process, digital resources, and hypermedia. The writings characterized as such present innovations in the aesthetic field, as well as preserve, reconfigure and renew modalities of literary making inscribed in tradition. In this perspective, the text Humus - continuous poem, by Portuguese writer Rui Torres, which, in addition to the various media available in the production of the poem, establishes a dialogue with two previous works: the novel Humus, by Raul Brandao, published in 1917, and the homonymous poem by Herberto Helder, published in 1967. Then, having in mind Torres' work as our starting point, we aim to reflect on how digital media affect the relationship with printed literary text, whether in the act of creation or reading. We would also like to discuss how to operate the dialogue with the works of the past mentioned above. Our analysis is supported by the studies of intermediality carried out by Irina Rajewsky and the concept of remediation developed by Bolter & Grusin. Besides, we embrace the idea of palimpsest writing, as formulated by G. Genette, and take into consideration Borges' reflection on the rereading of tradition, understanding that, when appropriating a text, the poet promotes a deviation to the precursor text.

El objetivo de este trabajo es analizar, según la metodología del semiólogo Gérard Genette, las relaciones transtextuales localizables en Shame (2011), película dirigida por el director británico Steve McQueen. Se identifican y analizan una serie de casos de alusiones intertextuales que conectarían el filme de McQueen no solo con otros de la historia del cine, sino también con las más grandes firmas del arte moderno. La superposición de diferentes láminas textuales y artísticas convierte a Shame en un valioso palimpsesto transtextual que proyecta su propio significado a partir de la suma de las significaciones de todos sus referentes subyacentes: en otras palabras, convierte a Shame en un buen testimonio de «cine cleptómano».

This article examines the tools and methods that contribute towards the development of open-space projects in urban countrysides as part of land-use planning processes. It focuses on the creation of a support to encourage dialogue between ecology and landscape architecture professionals, in relation to their common interest in the history of the territories they are analysing. Based on the notion of palimpsest, we propose an original methodology for the cartographic representation of milieus, designed as a tool for interprofessional work. We conducted an experiment within the operational context of the Plaine Lyon-Saint-Exupéry so as to set out this method of data and map production on GIS software, reinterpreting the historical atlas of the Canton of Geneva (Corboz, 1983; Léveillé et al., 1993). We will see that these cartographic representations allow for unique readings of planned territory in order to imagine its future. For ecology and landscape professionals working on the open spaces in question, they contribute to develop complementary project intents and new modes of exchange with local actors with regard to its co-construction. The palimpsest mapping tool may therefore be defined as an ‘intermediary object’ for a shared multifunctional project on open spaces.

What are the consequences of the use of the palimpsest metaphor on the construction of the contemporary project? The metaphor casts criticism on the modern project and opens to the long-term (longue durée). The investigation of territorial rationalities brings to the fore these temporal dimensions and the organizational structures of space. Understanding territorial rationalities is inescapable to define the basis of any exploration of the future of territorial, urban-rural configurations. The metaphor of the palimpsest alludes to the meeting/clash between different times, endless modifications and transformations. Until the use of the support is not so serious as to question its very existence, directions, dynamics and, at times, fortuitous encounters interweave on its shriveled skin; forms of power and violence are measured there, which, in turn, will generate new conflicts. “Unintentional monuments” are places where this intensity of pure overlapping disconnected intentions become monumental and the substance of a project, revealing, celebrating and exposing their landscapes, as episodes of collective human and environmental history. The palimpsest as a figure in the contemporary project is not only a criticism of the modern space, but the expression of a change of direction in the design activity, of its social role and of the theories intended to support it: Design space in the second degree.

This article presents the results of a study on the traditional settlement patterns of the Somba people, living in the department of Atacora, north-western Benin. Adopting a methodology based on both a generative approach and André Corboz’s (1983) territory–palimpsest analogy, the study specifically questions the ‘dispersed’ character of the Somba habitat. Built upon two hypotheses, according to which Tatas Somba settle approximately to pre-existing Tatas and near to watercourses, this study seeks to understand the reasons and conditions of this dispersal throughout history. By cross-checking on-site inventory and geographic information system data allowing to analyse the distances between Tatas, archaeological sites and nearby watercourses, and thus revealing the permanent, the persistent, and the disappeared landscape elements, this article aims to prove that the settlement of the Tatas Somba is not determined by geometrical compositions, landmarks, or infrastructures, but rather by a combination of social, agricultural, environmental, and subsistence factors.

Mining, in addition to other human activities and natural phenomena, has repeatedly reshaped the landscapes of the Peruvian Andes. Long-standing, significantly modified and new Andean landscapes have resulted in a complex reading of the ‘land as palimpsest’ (Corboz, 1983). In recent decades, large-scale modern mining has disturbed headwater landscapes and broader Andean ecologies, as exemplified in Cajamarca’s gold mines. This article critically reads past and present spatial transformations induced by gold mining in the headwaters of the Cajamarca Basin. Through archival documentation, fieldwork and interpretative cartography, it analyses the large-scale surface mining operations in Cajamarca from 1993 to 2020, as well as their impact on downstream rural and urban ecologies. A cross-scalar mapping investigation discloses the spatial-ecological outcomes of twenty-seven years of mining (and closure) operational procedures. As a conclusion of the palimpsest reading, a design-research question is posed as to how Cajamarca’s post-mining landscapes can be opportunely premeditated. It hypothesizes that, already during exploitation, the post-mining landscapes can be consciously constructed by an intelligent manipulation of mining procedures and create a layer of the territory that is more robust. Environmental reconstruction after mining closure recreates a pseudo-natural environment that supposedly erases the traces of mining and restores natural condition—literally back to nature, with no cultural trace. In this regard, reconstruction is merely theoretical since the repairing to a natural state would mean no palimpsests. However, despite the most imaginative and ecological repair, the territory remains a mega palimpsest, cruelly violated and disrupted. Therefore, at best, the proposition can be to build a cultural, consciously conceived and tailored post-mining landscape, merging mining and post-mining landscape construction into one movement, where the remaining (palimpsest) is part-and-parcel of the newly constructed. ispartof: Urban Planning vol:5 issue:2 (2020) pages:172-190 status: published

The theory and practice of Wikipedia has a common heritage with professional history. In spite of the project being very new, the number and variety of its authors and the ambivalence of academia t...

Taking as point of departure Frenkel’s notion of contemporary, post-transitional South African writing as palimpsestic, and Genette’s theory of inter-/hypertextuality in terms of palimpsest, the ar...

This review article examines two palimpsest rewritings of J. M.Coetzee’s canonical but controversial novel, Disgrace (1999). Both rewritings are by women: Lacuna, a novel published in 2019, is by a...

One of the interesting features of L’amour, la fantasia by Assia Djebar is that it tries to combine historiography and autobiography by confronting both genres with the stories of Algerian women. More concretely, the author joins different textual sources in one multilingual palimpsest: the written text is based on oral texts and the French is based on Arabic, but also on English, Spanish, Turkish and German. The interrelations between the different components constitute as many translational stages, in a literal and in a figurative sense, at the heart of Djebar’s historiographical and autobiographical project. However, the explicit references the narrator makes to the communication problems between the French and the Algerians, draw our attention to the difficulty and pain involved in such an enterprise. L’amour, la fantasia is a novel based on the intertwining of sources of a different nature and from different languages, but all attempts at communication between the different cultures break down, and all the interpreters’ or translators’ efforts are doomed to fail.

The model of literary palimpsest originally put forward by G. Genette is of essential value now, giving an insight into the mechanism of realizing transtextual meanings. Figurative use of the notion of “palimpsest” as a hierarchy of texts shining through each other, be it different versions of the same text or texts intersecting in the common narrative space, presents a new perspective on the modern literary process, when under the influence of mass culture a literary text may consist of not only other literary texts but also those of the cinema or even music. Although the conception of palimpsest has been further developed and refined by different scholars, some of its aspects, e.g. the receptive one, have not yet been studied in detail. Indeed, the receptive aspect of palimpsest is worthy of special attention as the literary process now is inseparable from the recognition of the communicative nature of art, therefore without a reader the literary work’s meaning cannot be actualized. Making a case study of the comic fantasy series by the modern English writer Terry Pratchett, the article considers the way palimpsest functions from the receptive point of view and sums up the effects it achieves.

The contemporary mobilization of the apartheid-Israel analogy on the part of activists and academics alike obscures the fact that it has a long history of use on the part of Hebrew-speaking writers...

El-Lahun papyri have fixed writing systems concerning their form, layout, formulae, orthography, and paleography. Reasons for this are the cultural identity of the scribe, writing practices, scribal habits, and the level of the scribe’s education. In this paper, we discuss the writing practices and scribal habits during the Middle Kingdom in El-Lahun society through the hieratic and the cursive hieroglyphic papyri by studying writing materials, the reuse of papyrus, and traces of palimpsest, layout, traditions of corrections and additions, verse points, blank space, guidelines and borderlines, and check marks. http://dx.doi.org/10.5913/jarce.55.2019.a007

The dominant image of Indian Muslim women of the nineteenth and twentieth centuries is one of being uneducated, silent, and secluded. This trope has crossed temporal and spatial borders, making its...

By applying Marshall McLuhan’s tetrad, this article proposes and responds to the question, ‘[h]ow does mixed reality change and create social environments?’. Historical examples of media as tools and modes of experience are described and assessed in order to reveal traces of the old and the ancient found in mixed reality. These examples include the Palais de l’electricité of 1900 and the medieval palimpsest. The article concludes with the argument that mixed reality foretells a new age of consumption.

Comics has a complex relationship to trauma. Earle argues that comics offers unique representational strategies for narratives of trauma and distress (See). Trauma (specifically the individual experience) is often characterised by symptoms relating to temporality *flashbacks and catatonia), and a compulsion to repeat acts. Comics pivots on an ability to make time visible and to keep it moving through a narrative using sequential images. The relationship between the two offers rich and diverse opportunities to look at how trauma can be made visible to a reader.\ud \ud In this paper, I demonstrate the ways in which the comics adaptation of Slaughterhouse-Five (Vonnegut, North and Monteys, 2020) visually represents the traumatic experiences within the source text and, moreover, how the book is able to speak to the experience of trauma that trauma theory has been grappling with since Freud. I explain how the presentation of this text in a visual form is able to create something that I am calling traumatic absurdity – the coming together of textual and visual tropes to create a story that neither glorifies, nor condemns, war, but highlights the absurdity of the experience and creates a comic that is at once both amusing and emotionally affective.

Basing his analysis on the dynamic tension between history and monuments, Ngara’s chapter argues that acts of covering up result in ironic renderings of the post-apartheid urban palimpsest in selected stories by Ivan Vladislavic. The present-absent nature of historical monuments instantiates democratic procedures and serves as a subtle and ambiguous reminder of the fluidity between an age past, and one ushered in in post-1994 South Africa. Ngara examines how the palimpsestic effect is achieved in the overwriting of different histories onto physical space, histories that are contesting but inextricably interwoven in palimpsestuous fashion. He deploys the logic of the palimpsest to evaluate how one contesting history (the hypertext) can be directly written over another, without completely eliding the older, underlying version (the hypotext).

The essence of the sky is said to be sound; the sky is the guardian medium of wind, light/fire and water and their respective essences of touch, sight and taste. The elements are cumulative in their emergences—the latter contain the former. This cumulative set of elements and essences goes into the formation of the earth and its olfactory essence. The convergent dynamic of the earth brings forth every formation and relation—be it moving or rooted, animate or inanimate. As every emergent formation is exposed to the relentless logic of dissolution—the process sketched here gets inverted when dissolution sets in. Memory is an effect of this process, and memory tracks this very dynamic of emergences and dissolutions. Culture is a formation of such palimpsest memories. Indian culture embodies millennially extended memories about the elemental processes indicated here; the most prominent one among these elements is water—in its congealed and cascading formations. Rains are Vedic and rivers are Puranic. If rains are Vedic and rivers Puranic, is there a dividing line between the mnemoscapes of the Vedas and puranas as the dominant account about rains and rivers advances today? Such a division and hierarchy cannot be missed in the Indological accounts about India where the Vedic is seen as Brahmanical orthodoxy and the puranic, popular Hindu. Are the cultures of memory formed by the double strand of shruti and smriti discontinuous and are they divided by a disruptive line? This chapter advances the account that the cultural memories of the elemental immerse and animate millions in a shared experience of a cherished inheritance: tirthas and mahatmyas vibrate and proliferate on the flows of rivers. But the force of the flow and the weaves of memory get interrupted when they are ordered to serve an end; such an irruption in the cultural memories of Indian traditions began to occur from the eighteenth century. Today, the elemental—the waters—is increasingly invaded by such demands and commands and yet the mnemoscapes of India continue to endure with vigour. But the elemental responds violently to such regimes of supremacy. This chapter, while affirming the shared transmissions of immemorial traditions, articulates the relation between the double strand of Indian vaangmaya and the mnemoscpaes of water figured as Ganga.

Architecture is often understood to be the concrete facts of the urban landscape, however, this essay suggests that darkness recasts our built environment and senses away from the visual. During nocturnal hours transition and time in our cities becomes elastic and foggy, distinct in many ways from the space and place of everyday life. To go out into the night is a decisive act since it reaffirms our multi-sensory relationships with our immediate environment. Walking is therefore positioned as an inscriptive practice, being not only a primary measure of space but also reawakening the palimpsest of the urban landscape. This essay draws upon ideas concerning spatial practices and extensive personal experience in order to contribute to the understanding of the anthropology of the nocturnal city. It will seek to elucidate on the on-going entanglement that occurs at the boundaries of body and urban landscape; day and night; space and materiality.

The article presents an analysis of trickster archetype in contemporary British writer A. S. Byatt's works. The research aims to clarify its function that's achieved through the methods of Jung's myth criticism and intertextual analysis. The archetype is not only disclosed in features of characters images but is also displayed as the deepest layer of their palimpsest structure. The author concludes that a trickster opens ways to unconsciousness, which accounts for its horrifying influence on character building.

During their ongoing lives, both E. M. Forster’s gay bildungsroman/romance ‘Maurice’ (written 1913–14, repeatedly revised 1914–1959, posthumously published 1971) and Merchant Ivory Productions’ eponymous 1987 film adaptation have suffered parallel forms of critical dismissal and misrecognition. Both novel and film have been received in terms that dismiss them as works worthy of analysis and deny their cultural, political and affective significance: whether as the first gay love story to deliver an ‘imperative’ happy ending, or as the radical Utopian, visionary queer text Forster’s – open, un‐‘finished’ – ending encodes. Where 1970s critics marginalised Forster’s ‘Maurice’ by dismissing it as an ‘inferior’ work or ‘fairytale’, the dominant critical response to James Ivory’s ‘Maurice’ in the UK would stubbornly pigeonhole and dismiss it as merely a ‘heritage film’ – a stance epitomised in Mark Finch and Richard Kwietniowski’s perverse insistence that Ivory’s ‘Maurice’ is ‘fourthly, and only fourthly, about le vice anglais’ (1988:72). In the early twenty-first century, however, such responses are challenged by the enduring and profound impact of both novel and film on audiences/readers, whose intense responses to ‘Maurice’ are vividly evident in post‐2000 Web 2.0 participatory culture (Monk, 2011b). This chapter instigates and nests within a larger project of reappraising ‘Maurice’’s evolution and adaptation(s) across three phases of its century-long (trans)textual history, including its still-unfolding twenty-first century adaptations and its popular reception and uses in its ongoing public life. First, the complex, palimpsestic history of ‘Maurice’ ‘the’ novel between 1913-14 and 1971: the product of 57 years of private circulation, and intermittent but protracted textual revisions, during which divergent manuscripts were read by multiple ‘peer reviewers’. Second, the 1987 film adaptation, which was the product of a comparably complicated, contested genesis and significant structural reworking (made publicly part-visible for the first time in the 2004 release of the Merchant Ivory Collection DVD, with its 30‐plus minutes of unused or deleted scenes, and in the subsequent Blu-ray/DVD releases of the film’s 30th-anniversary digital restoration since 2017: see Monk, 2017 and 2019). The third phase comprises the responses of ‘Maurice’’s twenty-first-century readers/audiences and fans, which take a variety of forms – some merely made newly visible by twenty-first-century participatory digital and internet culture; others directly enabled, stimulated, or shaped by it – and also the further adaptations, re-adaptations and paratexts of Maurice (Forster’s, Ivory’s, or blurring the two) which have emerged or been made during the same period. These include a great variety of post‐2000 (re‐)adaptations and sequels written by fans themselves, whether published online or in print (within a wider body of ‘Maurice’ fanworks such a pop videos and crossover fictions: see Monk, 2011b). Since 2004, more than 160 fan-authored ‘Maurice’ fictions (including sequels, and crossovers which mix characters and/or story elements from more than one text/fandom) have been published online in English (as well as more than 30 in Russian and some in other languages). These works are of interest not merely for the insights they offer into reader/fan understandings of and investments in ‘Maurice’, but for the work done by fans in extending Forster’s sexual politics and Utopian vision – as well as the Maurice Hall/Alec Scudder cross-class pairing – into ‘the for ever and ever that fiction allows’ (Forster, 1960/1972, p.218), and in their narrative and representational solutions to perceived difficulties or limitations within the novel and/or film.

The use of oral histories is embedded in the interplay of archival limitations and shifting historiographical questions. This essay begins with a preliminary historiography of oral history usage in Asia, exploring its contrasting usages among scholars of China, Japan, India, and Thailand. However, more than filling in archival gaps, oral histories can challenge broader historiographies. Arrested multiple times, Kruba Srivichai (1878–1939) is northern Thailand's most famous monk. Illustrating a pointillist approach that draws upon hundreds of oral histories and dividing the palimpsest of Srivichai's controversial life into four time periods, this essay shows how oral histories challenge four corresponding paradigms and thereby force a reengagement with the overall narrative of Thai nation-state formation. This essay argues for the importance of oral history, not merely in “filling in gaps” in archival sources, but in challenging hegemonic historiographical paradigms.

The article critically analyzes how historical narrative redesigns the past to serve the needs of present and construct a palimpsest that is subject to constant erasure and revision. The study choo...

O topos do manuscrito encontrado aparece na antiguidade clássica, passa pela Renascença e floresce até hoje; esta ficção narrativa, pela qual o texto apresentado seria uma tradução de um imaginário original, levanta ao tradutor real uma série de instigantes questões. O objetivo desta comunicação é promover uma reflexão, analisando alguns exemplos concretos, sobre a tradução destes textos. Os resultados do trabalho demonstrarão como, na nova tradução/metatradução do texto, num jogo de espelhos e suas refrações, aparecem vestígios também de seu imaginário original, formando um palimpsesto das três culturas, uma tripla camada de texto de onde emergem as vozes dos vários autores.

Thomas Harris’ 1981 Red Dragon introduced readers to the highly intelligent, articulate and cannibalistic serial killer Hannibal Lecter, albeit in his first outing restricted to his prison cell and...

This review explores Hall’s memoir as reflecting on the correspondence between his life and ideas and demonstrating the ways in which Hall’s vital Jamaican upbringing and Caribbean background under...

This article presents the Syriac Galen Palimpsest’s double history, of both the original manuscript and its subsequent reuse. The original medical manuscript contained Galen’s Book of Simple Drugs in Syriac translation, was probably produced in northern Mesopotamia or western Syria, and dates to the first half of the ninth century. After only two centuries, it was erased and reused to produce a liturgical text called Octṓēchos, probably at the monastery of Saint Elias on the Black Mountain. This palimpsest was later transferred to Saint Catherine’s monastery in the Sinai, where it remained for several centuries before being offered for sale in Leipzig in 1922 (perhaps due to the activities of Friedrich Grote). We pay close attention to the context, contents, codicology and palaeography of both the original manuscript and the palimpsest. We also contextualise both texts within the wider story of their transmission. Through the "skeleton" table we present the latest results of our almost complete identification of the undertext. We reconstruct the structure of the original codex through a collation diagram. We draw palaeographical parallels with a dated colophon of the well-known Sahdona-manuscript. This permits us to narrow done the time and place of production of the original manuscript.