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The historical form of minimalism which culminated in the Euro-American context in the 1960s–1980s did not find its way into Slovak poetry. Nevertheless, several Slovak artists and poets adopted and creatively adapted individual features of minimalist poetics – conceptuality, aesthetics of the sublime, poetics of indications, ellipsis, short forms of narrative, the enunciative, intermediality, seriality, thematic minimalism, etc. They did so also under the influence of contacts with the work of foreign authors. Literary historian Peter Zajac connects the Slovak poets with the cultural paradigm of the minimal and perceives them also in contemporary cultural landscape as productive tendencies in the visual arts and literature. The article focuses on the work of Rudolf Jurolek (1956) whose poetry joins natural lyricism with subtle spiritual overtones. His inclination towards the short poetic form and reduction can be observed in various forms and modifications in his poetry over the years from his early writing published in journals in the 1970s to the most recent collection of poetry Bukolika ([Bucolics] 2021) which was awarded Zlatá vlna award in 2022. Jurolek’s manifestations of minimalism captivate with their conceptual character and variety of procedures, but also with their unique thought conception, in which minimalism is connected with complementary and harmonizing processes. [ABSTRACT FROM AUTHOR]

The contribution deals with the typewritten concrete poetry of the intermedia artist Milan Adamčiak (1946 – 2017), which was created in the second half of the 1960s. It focuses on two characteristic forms of concrete poetry: verbal and sentence constellations. It observes how the principle of seriality is applied to these text-image compositions. Seriality, as a key compositional and meaning-generating principle, is particularly associated with repetition and variation. In the context of verbal constellations, the article emphasizes the function of visual composition in dealing with a word extracted from linguistic syntax. In sentence constellations, it concentrates on the metacritical function of these forms, specified in the form of a critique of language as a means of communication and an instrument of power. Adamčiak’s repetitive-variation manipulation of linguistic material represents the application of visual techniques to literary creation. The contribution also points out the intermedia character of Adamčiak’s concrete poetry, highlights its parallels and connections with Czech experimental poetry, and selectively considers the socio-political circumstances of the time. [ABSTRACT FROM AUTHOR]

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Il saggio analizza una delle manifestazioni più diffuse e interessanti del media fandom, il remix audiovisivo, e i suoi rapporti con la serialità. Si tratta di una forma di appropriazione da parte dei fan che consiste – nella maggioranza dei casi – nel prelevare e (ri)montare brevi sequenze tratte da fonti audiovisive mainstream (film, serie televisive), spesso accompagnandole con uno o più brani musicali. I video che scaturiscono da questa pratica, e che vengono condivisi su piattaforme di videosharing come YouTube o Vimeo, esplorano la fonte o le fonti in modi inediti. Dopo una ricognizione che mette in luce il carattere strutturalmente seriale della pratica del fanvidding, ricostruendone la genesi e mostrandone gli sviluppi più recenti, in parallelo alle trasformazioni che negli ultimi anni hanno investito tanto la fisionomia del fandom quanto le tecnologie digitali, il saggio prende come corpus di riferimento i video prodotti nell’ambito delle comunità o da utenti/produttori che gravitano intorno al period drama. A partire da una discussione di alcune delle classificazioni e tipologie correnti (fake/fan trailer, redub, supercut…), e basandosi in parte sulle categorie proposte da Gérard Genette in Palimpsestes, vengono proposti tre criteri – relazione con la fonte, regime, logica – attraverso i quali analizzare i video prodotti dai fan. Tali criteri consentono di mettere a fuoco alcune questioni cruciali come l’atteggiamento degli utenti/produttori nei confronti della fonte, del materiale ri-assemblato, i potenziali effetti di ricezione, la funzione del commento musicale nell’ibridazione di generi e forme, la ripetizione come modalità fondamentale di espressione del desiderio ma anche come strumento di lettura critica, le implicazioni (e le contraddizioni) di quella che è stata definita da Kristina Busse «estetica [meta] affettiva».

Alla stregua di un viaggio che valica i confini di tempo e materia, colore e originalità, archeologia e storia dell’arte, la mostra Serial Classic, curata da S. Settis e A. Anguissola ed allestita dal 9 maggio al 24 agosto 2015 presso le sale del Podium della Fondazione Prada di Milano, ha affrontato con rinnovata e audace vitalità il concetto di ‘classico’ attraverso il rapporto tra originali, copie e riproduzioni delle grandi manifestazioni statuarie greche, svelando al mondo moderno quanto i valori di classicità in essi insiti siano vivi, energici e attuali.

Tento článek rozvíjí nový teoretický přístup k genderu jako k sociální kolektivitě. Je zaměřen na nedostatky v konceptualizacích genderu v důsledku poststrukturalistických kritik esencialistických pohledů na gender. Snaží se vyhnout esencialismu, aniž by přitom přehlížel skutečnost, že gender je sociálně strukturovanou charakteristikou. Inspirován Sartrem navrhuje koncept seriality a jeho odlišení od konceptu sociální skupiny, a tím posun od zjednodušujícího pojetí genderu jako individuální identity směrem ke komplexnímu pochopení sociálních základů ženství.

First answer to Andrea Bernardelli's starting article about Eco and the forms of serial narration.

These few pages are meant to start a discussion about Eco’s work on serial narration and its forms, which is the topic of this issue. Obviously, it is at the same time a way to remember Eco as an intellectual, a scholar and a professor, and also an attempt to avoid the banality of an obituary, stimulating new research and continuing his work – an approach he would have liked for sure.

Modern seriality shares a number of features with what we could call primary seriality, being periodicity the main difference between them. The birth and development of the novel as a unitary narrative form historically separates them, and it is novel's very existence what allows the theoretical issue about the nature of seriality. But in the intercourse between primary and modern seriality we meet also the birth and development of periodic print, which will represent a model for modern seriality. In understanding the relationship between seriality and narration, sagas play a crucial role, being the most difficult case to assimilate to standard model. We can observe that in some sagas narrative dynamics are actually not the focus of reader's attention, and just build up the frame of a sort of access to myth. And what happens when modern seriality reduces its distance from primary one, neutralizing its periodicity (e.g. by publishing TV series on the Web)?

Intervista a Leo Ortolani

Second answer to Andrea Bernardelli's starting article about Eco and the forms of serial narration.

Nelle conversazioni quotidiane e in rete si discute molto della dipendenza da serie televisive, con particolare riferimento alle serie continue di ultima generazione (tra cui Game of Thrones, Homeland, House of Cards e simili), le quali sembrano incoraggiare il cosiddetto binge-watching più di qualsiasi altra fiction precedente. Molti commentatori paragonano questo fenomeno alla tossicodipendenza, e una recente ricerca psicologica (Hoon Hi Sung, Eun Yeon Kang, Wei-Na Lee 2015) collega la dipendenza da serie alla depressione. Ma quanto è accurato (o invece metaforico) l’accostamento della compulsione seriale alle forme più tradizionali di intossicazione? Questo articolo analizza la vasta fenomenologia delle dipendenze da serie da un prospettiva semiotica, con il proposito di distinguere tra diversi stili di fruizione immersiva: dalle maratone solitarie e onnivore che effettivamente possono suscitare sentimenti individuali di frustrazione e di inadeguatezza, all’intensa attività sociale che viceversa circonda alcuni specifici culti televisivi. Sino a che punto è possibile ascrivere una simile gamma di atteggiamenti interpretativi alle strutture stesse dei testi, per esempio in rapporto alle trame, all’architettura dei mondi narrativi e alla costruzione di personaggi con cui gli spettatori possono identificarsi? E quali effetti producono le frequenti e prolungate immersioni nei mondi seriali sulla percezione collettiva del mondo reale?

In the last decade, tv series have become a more and more popular tv genre, not only among tv viewers. Their audience is nowadays composed above all by cinema lovers and scholars, who do not often consider their tv values and prefer to underline their film and literary components. This essay tries to analyze this phenomenon in the perspective of television studies. First of all, it is necessary to retrace the correct definitions of the tv serial forms, which are often used in an uncorrect way, in academic as well as in common language. Then, the relationship among tv, cinema and literature and their narrative forms are analyzed, together with the relevance of technological development in influencing tv production values and audience practices. As a consequence, the portrait of a new viewer can be identified: the “Tv-Cinemaniac” comes out of a mix of viewing practices, technological skills, media knowledge and common sense whose pros and cons should be considered in the framework of Italian television and film studies.