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Preklopni sunčani satovi s kompasom iz 16. stoljeća predstavljali su jedan od najvažnijih povijesnih postignuća u individualnom mjerenju vremena. Ako se pravilno upotrebljavaju, osim svoje točnosti, omogućavali su mjerenje vremena na više različitih područja. Kao jedni od velikih proizvođača takvih satova navode se pripadnici obitelji Karner, Lesel, Müller (Miller, Miler), Reinmann, Troschel i Tucher, a kao najvažnije središte njihove proizvodnje grad Nürnberg. Takvi satovi proizvodili su se od raznog materijala i s raznim dodacima. Na području Hrvatske, na lokalitetu Donja Stubica – Stari grad te Konjščina – Stari grad u Krapinsko-zagorskoj županiji, pronađeni su nalazi dijelova preklopnih sunčanih satova izrađenih od slonovače i kosti (lubanja jelena). Na oba pronađena nalaza mogu se uočiti karakteristike u vidu materijala, oblika, motiva, urezanih godina i funkcije koje nam mogu dati naznaku kako je riječ o proizvodima koji su potekli upravo iz radionica u gradu Nürnbergu. Preklopni sunčani satovi s hrvatskog područja otkriveni su na privatnim utvrdama te iako je teško otkriti i dokazati tko su bili vlasnici ovih satova, zbog mjesta pronalaska postoji mogućnost kako je riječ upravo o plemićima. Diptych sundials from the 16th century represented one of the most important history achievements in individual time measurement. If used correctly, apart from its accuracy, they made it possible to measure time in many different areas. Members of the Karner, Lesel, Müller (Miller, Miler), Reinmann, Troschel and Tucher families are known as one of the major manufacturers of these diptych sundials, and the city of Nuremberg is the most important center of their production. Such portable sundials were produced from various materials and with various accessories. The parts of 16th century diptych sundials made of ivory and bone (deer skull) were found on archaeological sites Donja Stubica - Stari grad and Konjščina - Stari grad in Krapina-Zagorje County in Croatia. On both finds, characteristics in terms of materials, shapes, motifs, engraved years and function can give us an indication that these are products that came from workshops in the city of Nuremberg. Diptych sundials from the Croatian territory were discovered on private forts, and although it is difficult to discover and prove who the owners of these sundials were, due to the place of discovery, there is a possibility that the owners were noblemen.

An epic cycle emerged at the turn of the 13th and 14th centuries, comprising a series of continuations to Huon de Bordeaux. What we call the Chanson d’Yde et Olive unites three different sequels, Yde et Olive I, Croissant and Yde et Olive II, which recount the adventures of the granddaughter and the great-grandson of the hero of Bordeaux. Sharing the same themes and motifs as tales, hagiographic legends and romances, these texts reflect the archetypal fluidity of the late epic, thus comprising representative samples of the genre. More specifically, the Miracle de la fille d’un roy, Tristan de Nanteuil and two Italian cantari, Antonio Pucci’s La Reina d’Oriente, and Pietro of Siena’s Cantare di Camilla, converge on the same narrative diptych depicting a homosexual marriage scene and a final metamorphosis. It is the most stable and undoubtedly the oldest dramatic core, that each work has tried to encase within its own narrative. Yde et Olive is the first text that introduces it by a widespread opening in contemporary literature, that of the incestuous father, which is found in the same configuration in the Miracle de la fille d’un roy and the Cantare di Camilla. Flourishing on both sides of the border, the tradition of the miracle plays, from which the cantari, characterized by a strong theatrical connotation, often draw their subjects, has undoubtedly contributed to the transmission of the matter of Yde et Olive in Italy.

Summary This study is part of a diptych. It is conceived as a general theoretical introduction to a forthcoming substantial case study describing the economy of the classifiers system in the Late Period tomb of Menekhibnekau in Abusir. In the first part of the present paper, I shall first go through an overview of the functioning of the classifier system and some suggestions about its evolutive dynamics in diachrony. In the second part, I will introduce five classification strategies that can be encountered in the texts from the end of the Ramesside period down to the Late Period. These strategies will be explained and illustrated by means of two case studies: the manuscript L of the Teaching of Amenemope and the texts from the tomb of Menekhibnekau.

Organized as a diptych to reproduce the inner organization of the novel, the present article aims to show that Sabbath’s Theater stages a fight between Eros and Thanatos that apparently results in an unexpected tie-game of a nature to challenge many a theoretical aesthetic and psychoanalytical assumption. The energies of the Love Instinct are pit up against the forces of the Death Drive in the arena of a constant confrontation of harrowing obscenity and transgression juxtaposed with distressing representations of the haunting of death and forebodings of suicide. Highly destabilizing, the text thus locks its reader in a theater of rejection and sympathy that does not leave him/her unscathed, and ultimately produces an experiment in form that helps understand why Roth considered it his best achievement.

Observing Wildlife in Tropical Forests is the first volume of a diptych, which is important to know when trying to understand the organization and construction of the book. This first volume, title...

The paper presents fragments of a Byzantine icon discovered in 2015 during regular archaeological excavations carried out in Chełm, eastern Poland. Iconographic analyses allow the nine surviving fragments to be interpreted as belonging to a diptych wing with the Great Feasts cycle. The icon represents archaic iconography of the subject, with the scene of Transfiguration placed after Entry into Jerusalem and before the Crucifixion. The artefact was created in the second half or at the close of the 12th century, and it was made from steatite, which has been confirmed by petrographic analyses. The icon was discovered in the remains of a palace complex of King Daniel Romanovich, the greatest ruler of the Galicia-Volhynia Lands. The results of the archaeological research allow the terminus ante quem for the icon’s arrival in Chełm to be determined as before the middle of the 13th century. Various possible explanations as to how the icon found its way to Chełm are also explored in the paper.

This article critically analyzes a pair of photographs from the Unite the Right rally in Charlottesville, Virginia, in August 2017: Samuel Corum’s nighttime image of torch-bearing protesters on the...

Between 2002 and 2013, the author of this article published and saw staged three different plays that establish creative dialogues with the work of Fernando Pessoa. Two of them – Audicao – Com Daisy ao vivo no Odre Maritimo (Audition – With Daisy live in Lisbon) and Cabare de Ofelia (Ophelia’s Cabaret) constitute a dramaturgical diptych sharing a common character who is present in both: Daisy Mason; reinvention of the figure from a Pessoa’s poem, portrayed in them as a drag‑queen friend of Alvaro de Campos, “legend of poetry and music‑hall”. The third of these plays, Menino de sua Avo (Fernando and his Grandmother), brings to the theatrical scene Dionisia Seabra, Fernando’s crazy grandmother, in a play with seven scenic encounters between grandmother and grandson that extend beyond the physical death of both. The article begins by establishing a brief comprehensive picture of Pessoa’s approach to the universe of theater and dramatic creation, namely that which in its plural creation is identified with a function that we can designate as a poet‑actor. The discursive course of the article gives attention to each of the mentioned plays, articulating the motivations for their writing, the imaginary that constitutes them, as well as the way they relate to elements and figures from the fictional universe of Fernando Pessoa. THEATRE / FERNANDO PESSOA / POET‑ACTOR / DRAMATURGICAL CREATION / TEXT AND SCENE

Iohannis Scotti Eriugenae Carmina, ed. Michael W. Herren, with the assistance of Andrew Dunning, Corpus Christianorum Continuatio Mediaevalis 167Iohannis Scotti Eriugenae De imagine, ed. Giovanni M...

International audience; The aim of this article is to examine the meticulous way in which Julian Barnes created his characters in the diptych Talking It Over (1991) and Love, etc. (2000) through an exploration of his archives, more specifically his preliminary notes, sketches and drafts. These archival documents shed light on the protagonists’ main characteristics and functions which Barnes sketched from the start. They also reveal the writer’s great care in devising idiosyncratic languages for each character, which are reflective of their personalities. The paper comments in particular on the linguistic choices made by Barnes to ensure that each voice was singular. The writer was also attentive to the balance of power between the characters and the genetic dossier for the two novels reveals that he devised the female character in the trio as the “prime mover”. By casting light on the living process of literary creation, this article uncovers the intricate palimpsest of Barnes’s work and helps understand the writer’s unique approach to characterisation.

O presente ensaio visa analisar e confrontar duas obras que poderiam ser consideradas modelos ou manifestos do Teatro Oficina: Bacantes (1996) e O banquete (2009). Interpretando-as como um díptico, isto é, iluminando e suplementando uma com a outra, acreditamos ser possível absorver e superar as leituras mais habituais do trabalho de Zé Celso Martinez Corrêa, as quais se restringem à adesão ou recusa totais, e por isso muito simplistas, de seu projeto poético-político.

In this article my aim is to situate the growing area of academic audio-visual essays within a wider field of practice-based-research. My objective is to look for patterns across this field so as t...

espanolEl autor desarrolla el articulo en forma de diptico: en primer lugar, se ocupa de la teologia y la espiritualidad sacerdotal de Juan Pablo II, vista a lo largo de su itinerario magisterial caracteristico; en un segundo momento, expone, a modo de sintesis, la pastoral sacerdotal que nos ofrece san Juan Pablo II. Salva la distancia entre la realidad ontoteologica y su desenvolvimiento moral a traves de una exhortacion apremiante a la santidad de vida en la caridad pastoral. EnglishThe author develops this paper in the form of a diptych. Firstly, he deals with the theology and priestly spirituality of John Paul II, seen throughout his char-acteristic magisterial journey. In a second moment, the author exposes, by way of synthesis, the priestly ministry that Saint John Paul II offers us. This bridges the gap between ontotheological reality and its moral development through a compelling exhortation to sanctity of life in pastoral charity.

Although Western and Chinese philosophy evolved from disparate doctrinal foundations, the department of ethics is a notable exception. “How to live the good life” is a subject treated by Confucius ...

The paper deals with Sir Thomas Browne, a doctor of medicine, philosopher, and writer of the English Baroque. His legacy holds an enduring appeal for scholars and, more importantly, survives in English language and its literature. It is demonstrated that Browne’s prose played an important role in the shaping of English literature and language, and that his philosophical and scientific views were eclectic. As a separate topic, the article considers problems of translating his prose into other languages. Translations can be spot-on, as shown in the article, when a coincidence of the ‘time of culture’ (Popovich, Borges) between the original and the culture of the translation occurs. For translations into Russian, a problem arises due to the inconsistency (polyglossia) of the 17th-c. Russian language. The author provides a comparative analysis of Browne’s original essays and their Russian translation. She finds that V. Grigoriev’s translations of Browne’s diptych discourses rely on a complex historical stylization, use 18th-c. Russian language, and have proved themselves as a factor of cross-literary communication.

This article inverts Donna Haraway’s proposition that ‘the ideologically charged question of what counts as daily activity, as experience, can be approached by exploiting the cyborg image’ by instead exploiting everyday experience to approach the contemporary cyborg. It utilises digital tools to compile a corpus of Instagram posts that foreground corporeal hybridity, and examines this social media data through the lenses of feminist STS, affect theory and digital studies. This strategy offers a new vantage on the cyborg by connecting it to concrete and ongoing user practices. To make these interventions, this project focuses specifically on a genre of post popularised by Instagram fitness (or fitstagram) influencers – diptych photographic montages that oppose imperfectly ‘real’ material bodies to unrealistically ‘perfect’ media bodies. Although they formally rely on binary logics (real v. perfect, offline v. online), the posts simultaneously deconstruct them in a number of ways. These repeated boundary transgressions reflect users’ lived experiences of hybrid online/offline corporeality and help forward a theory of cyborg embodiment that relies on quotidian practices as opposed to fixed products or identities. Moreover, close engagement with a final dataset of eighty-nine posts illuminates three particular modes of enacting the cyborg corpus on Instagram: occupation of multiple bodies, awareness of the analogue body and anxious boundary-work. This research extends the cyborg as a critical figure by situating it within a social media context, attending to its imbrication in everyday practices, and affirming female Instagram users as theorists of their cyborg selves.

Relevance of study. Symphonic creativity of a representative of the Kyiv Composer School, Honored Artist of Ukraine, I. Ogienko, A. Vedel, I. Nechuy-Levitsky prizes winner, winner of national and international composer competitions of Olexandr Yakovchuk (born 1952) has been presented by eight symphonies, two symphonic poems, ten instrumental concerts. Such a quantitatively significant work reflects the peculiar artistic world of the artist, who is characterized by the spirit of intellectualism, philosophical approach in the understanding of historical events, the relief of lyrical expression, bright mastery of the method of symphony and the possibilities generated by it, orchestration. Covering both the early and the mature period of the artist's creative work, his symphonic style evolved, displaying at the same time certain stable moments related, for example, to the special attitude to the role of a group of brass instruments. Therefore, the problem of dynamics of A. Jacobchuk`s symphonic style (genesis, functioning, development, interaction with other artistic styles in the cultural context) is seen as a promising vector in the study of his artistic achievements, which occupies a prominent place among Ukrainian symphonic creativity (L. Kolodub, B. Bujevsky, Ye. Stankovych, V. Sylvestrov and others).Main objectives of the study are to reveal the peculiarities of A. Jacobchuk 's symphonies in the aspect of the problem of dynamics of formation his author style.The methodology of the research is based on the application of the cultural approach, source study, textual methods, as well as methods of holistic analysis and interviewing.Results and conclusions. The conflict-dramatic type of symphonism, that continues the tradition in Ukrainian music initiated by B. Lyatoshynsky, is predominant for A. Jacobchuk's symphonic music. From the early to the mature period of his creativity, his symphony style in its dynamics is attributed to non-canonical types of this genre. This is noticeable in the approach to cyclicity (two-part, one-part, six-part, one-part, enclosed in diptych), the advantage of programmability, samples of mixed genre with oratorio, requiem, concert. The national component of the style is identified mainly at the level of design, while in the vocabulary of music the examples of the use of characteristic intonation are isolated, but they carry a considerable semantic load in the concept. The leading role of brass instruments in the characterization of the main images, the culminating and summarizing zones of the form should be considered a feature of orchestral thinking

The purpose of the research is to reveal the specifics of the visual language of the artist and designer Vasyl Yermylov, in particular, through the study of his diptych «On the Beach» in interconnection with the artistic and theoretical achievements of Bauhaus artists-innovators. Research methodology. The method of deconstruction, structural, formal-stylistic and comparative analysis is applied in the article. Scientific novelty of the research. The results of the study revealed tendencies for Yermylov to create avant-garde compositions based on a subtle creative dialogue with the theoretical approaches of the Bauhaus representatives, which testifies not only to programmatic and ideological unity, but also to the identity of visual thinking. The method of deconstruction and structural analysis allowed to identify the elements of form as certain structures, deliberately introduced into the work by the master in order to rethink it, create another combination and, thus, the assertion of new content. This is the first time such analysis of Yermylov’s works has been conducted. Conclusions. The results of the analysis of Yermylov’s diptych «On the Beach» testify to the universality of the new visual language, Kwhich has developed in Ukraine despite the attempts to adapt it to the service of the totalitarian regime. Today it is important to testify that Ukrainian artists developed in harmony with their Western counterparts. Ermylov’s work, built on rethinking of different, sometimes opposite approaches to the development of form, which existed at different stages in the Bauhaus, is an example of exceptional design skill of the Kharkiv artist in composing virtuoso compositions from elements of art form. At the same time, the diptych with its laconic expression of the theoretical avant-garde heritage under the «mask» of Dadaism is a tribute to the New Art in the conditions of its prohibition and destruction.

This article examines Paolo Sorrentino's portrayal of moral degradation and pursuit of power in his twin biopics about Silvio Berlusconi: Loro 1 and Loro 2 (2018). It does so by performing a psychological reading of Sorrentino's representation of Berlusconi, as someone suffering from a personality disorder characterised by excessive power striving. It argues that this obsession with power also affects most of the films’ characters, who become obsessed with entering Berlusconi's inner circle – the pinnacle of wealth and power in a neoliberal society. In particular, it argues that their power striving circulates ‘virally’ in the film's narrative; the characters are willing to do anything to befriend their idol and attain absolute power. The ensuing analysis shows that Sorrentino's portrayal of Berlusconi – as the embodiment of a highly dysfunctional and obsessive, viral quest for power – comes to represent the deep pervasiveness of corruption, hedonism and commodification that marked the Second Republic.

In fine arts, a diptych usually consists of two paintings that are hinged or bound together to form a single piece that opens like a book. In my interpretation of the form, I have written this paper as a textual diptych. It consists of two halves—each of which provides a slightly different perspective and response to the question: How might scholars work to unsettle conventional practices of academic representation in order to allow for different knowledges and understandings to emerge? Further, I wonder in what ways I might expand how and what I write to include as-yet-unsanctioned thoughts, insights, sources, forms, and habits in order to unsettle conventional academic scholarship. This piece of work is my current contribution to the conversation on what it means to write academically, to represent one’s scholarship.

The panels of Martyrdom of Saint Sebastian and Saint Lucy, executed after 1610 by the Portuguese mannerist painter Belchior de Matos for the main altarpiece of the chapel of Saint Sebastian and Saint Lucy of Geraldes, Peniche, were subject to an intervention of conservation and restoration which aimed, in the first place, to restore the dignity indispensable to their adoption by the community and to their return to a place of worship. The works had several damages, but the most serious were the structural problems that jeopardized their stability and compromised the aesthetic value of the paintings. Therefore, it was necessary to reassemble the boards using a synthetic adhesive (PVA) with sawdust and phenolic resin microspheres. The frames, with significant lack of wood, were reconstituted with wood in the joints and with a filler paste (Araldite SV427) over a bamboo dowels structure in the grooves where the supports are inserted., Os painéis representando o Martírio de São Sebastião e Santa Luzia, executados depois de 1610 pelo pintor Belchior de Matos para o retábulo-mor da ermida de São Sebastião e Santa Luzia, Geraldes, concelho de Peniche, foram sujeitos a intervenção de conservação e restauro que teve como principal objectivo restituir-lhes a dignidade indispensável à sua adopção pela comunidade e à sua recolocação num espaço de culto. As obras apresentavam vários danos, mas os mais graves eram os problemas estruturais que colocavam em causa a sua estabilidade e comprometiam o valor estético das pinturas. Por isso, foi necessário proceder-se à reensamblagem das tábuas, usando-se um adesivo sintético (PVA) com carga de serradura e microesferas de resina fenólica. As molduras, com significativas faltas de material lenhoso, foram reconstituídas com madeira na zona dos encaixes e com pasta de preenchimento (Araldite SV427) sobre estrutura de cavilhas de bambu nas calhas onde entram os suportes.

Accepted for publication in Quarterly Review of Film and Video (2021); The beginning of Jean-Luc Godard's essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals' role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la Victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in order to offer an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

The article is devoted to the issue of montage as a plot-forming technique actively used in modern drama. The possibilities of montage are considered on the basis of the last plays by Vadim Levanov. Levanov is one of the most famous representatives of the modern Russian drama of the turn of the 21st century, and his work reflected all the variety of ideological and artistic explorations in contemporary drama. The dramatic diptych The Life of the Holy Blessed Xenia of St. Petersburg and The Most Possibly Authentic and Plausible Biography of the Bloody Lady Darya Saltykova, a Moscow Hereditary Noblewoman as well as A Play about Cows undoubtedly were Levanov’s programmatic works which reflected his philosophical queries. The article shows how the use of the montage technique allowed the playwright to express his attitude towards the eternal opposition of good and evil. Статья посвящена проблеме монтажа как сюжетообразующего приема, активно используемого в современной драматургии. Возможности монтажа рассматриваются на примере последних пьес Вадима Леванова. Он – один из наиболее известных представителей новейшей российской драмы рубежа XX–XXI веков, и в творчестве Леванова отразилось все многообразие идейных и художественных исканий современной драматургии. Драматургический диптих Святая блаженная Ксения Петербургская в житии и Кровавыя барыни Дарьи Салтыковой, московской столбовой дворянки правдоподобное и елико возможно достоверное жизнеописание, а также Пьеса про коров несомненно были программными произведениями Леванова, в которых отразились его философские искания. В статье показано, как использование приема монтажа позволило драматургу выразить свое отношение к извечной оппозиции добра и зла.

The article deals with the intertextual discourse in the works by a Russian poet, essayist, philosopher and culturologist Vadim Rabinovich (1935–2013). For the first time, his literary and philosophical essay «Futuristic Diptych » is subjected to a detailed analysis. Based on the position of M. Bakhtin, the inter-textual dialogical connections are explored, mainly in the reminiscence of the play «I Want» by V. Khlebnikov and in the poem «Futuristic Landscape» dedicated to A. Kruchyonykh, as well as a roll between the two chapters of the essay. The article defines logic of Rabinovich’s changes made to the dramatic text by Khlebnikov. Found out and described techniques of changing the text by Khlebnikov are included in the comparative table of options for the play «I Want». Quantitative data and literary analysis of the changes in the text confirmed its reminiscent nature. The resulting text is qualified as a lexico-graphic collage including intertexts of various forms and types, simultaneously representing a stylistic self-portrait of the collage artist himself.Entering into a dialogue with the culture of the past, V. Rabinovich recreates this culture in the present and draws his own visual-language portrait in the interior of the epoch. In the works of this contemporary the author tracies the tendencies of the postmodernism, characterized by «mobility» of the word, emergence and development of new style trends against the background of the general literature tendency of semioticism [Anikeyeva, Prokhorova, 2008, 12]. The study of Rabinovich's hermeneutic approach to the texts of Russian futurists led to the conclusion: the intertext in his essay performs a special research function. The non-randomness of the material chosen by Rabinovich is clear, for example, to draw parallels between Khlebnikov's play «I Want» and his poem «The Grasshopper». Attention is drawn to the poorly studied play by Khlebnikov and an assumption is made about the prophetic role of her heroine Ruchini, whose name is associated with the name of the place of the first burial of Khlebnikov, the village of Ruchi in Novgorod Oblast, where the first Velimir Khlebnikov Museum in Russia has been opened.

The synoptic Gospels describe Jesus Christ’s transfiguration not as a mode of ontological change, but rather as a means of revelation – that he is the second person of the Trinity. Through a diptyc...

Human decision-making plays a critical and challenging role in the prevention and control of public bads within socio-ecological systems. Farmers daily confront dilemmas regarding public bad management, such as infectious diseases in their crops. Their decisions interplay with multiple factors and may create the risk conditions in which a public bad can occur (e.g., a disease outbreak). This article presents an experimental board game method (DySE) and its contextualized version (Musa-game) to study the effect of individual and collective human actions on creating or preventing a public bad. The DySE method and the Musa-game add emergence and spatiality (both attributes of SES) to the study of public bads and collective action problems. This methodological proposal allows us to build a contextual understanding of how individual and collective actions of various entities lead to typical system outcomes, i.e., conditions that are (un)favourable to pathogens, and individual decisions about infectious disease management. To conceptualize our method, we used the case of Banana Xanthomonas Wilt disease in Rwanda. This research is published as a diptych. Part I (this article) covers the conceptualization and design of Musa-game. Part II presents empirical findings from testing Musa-game with farmers in Rwanda and recommendations for using the method.

This article aims to analyse of the relevance of female authorship in the creation of contemporary epistolary cinema, focusing on letter-films and filmic correspondences. The works of various filmmakers are essential to understand the evolution of these enunciation devices since the emergence of cinematic modernity to the present moment. Since Agnès Varda represented an epistolary correspondence between women –L’une chante, l’autre pas (1977)– and Marguerite Duras created an epistolary diptych as two identity-alterity variations –Aurélia Stéiner (1979)–, other women filmmakers have developed this cinematic form. Letter-films delve into epistolary seriality and materiality –Cartas visuales (Tiziana Panizza, 2005-2012) and Envíos (Jeannette Muñoz, 2005-2017)– and deepens the concept of alterity –Elena (Petra Costa, 2012). Filmic correspondences work on emotion-image –This World (Naomi Kawase and Hirokazu Kore-eda, 1996), In Between Days (Naomi Kawase and Isaki Lacuesta, 2009)– and shows female intersubjectivity –So Yong Kim (2011), Life May Be (Mania Akbari, Mark Cousins, 2014), A Moon for my Father (Mania Akbari, Douglas White, 2019), Transoceánicas (Meritxell Colell Aparicio, Lucía Vassallo, 2020). Women’s letter-films and filmic correspondences delve into the exploration of intimate space, authorial vindication and epistolary materiality, in order to create diverse experiences of female alterity and intersubjectivity.