1,720,972 research outputs found
He self as myth, mask and construct in Vladimir Nabokov’s speak, memory!
No full textIn my paper I study the strategies of constructing the self in Nabokov’s revisited autobiography, which constitutes a focal point in the net of his life work. The memoir does not only reconstruct the identity from a temporal and mnemonic perspective and in an intercultural context, but it also offers a self-portrait as a literary construct, worth being remembered by posterity. In my hypothesis, Nabokov’s text makes use of the “rhetoric of fiction” at least to the same extent in which he manipulates fiction by considering it a “shelter” for autobiographical elements. Fiction and autobiography become terms reflecting each other in his life work, as a specific sort of “specular structure”. Nabokov’s fiction as well as his autobiography requires the same type of reading: that of solving puzzles.
The paper discusses how Nabokov’s text slips out of the traditional interpretation of autobiography, and why it can be considered as an illustrative example of Paul de Man’s reinterpretation of the term autobiography. There is an inherent contradiction between what the text explicitly asserts and what its rhetoric actually reveals. The illusion of the unified self is created by a game of mirror reflections, showing in fact a puzzle-image, a distorted face. I examine the symbols of revealing and the games of disguising the self, which aim at creating a (post)modernist image of the self.
As a conclusion, I suggest breaking the autographical contract in the case of the author and book under discussion, and I propose a reading strategy and understanding unbiased by the opposition autobiography vs. fiction, in which this boundary is dissolved by the rhetoric and games of the text
The Epistemology of the Arbour. On the Intersection of Nature and Technology in Adalbert Stifter
No full textCorporalidade e imagística, intermedialidade e inter-sensualidade no filme Portrait of a Lady on Fire, de Céline Sciamma
Full text linkCéline Sciamma’s 2019 romantic drama film places in focus painterly representation accompanied by the female gaze. It addresses femininity not only by employing almost exclusively female characters, but eminently by delving into the power of the female gaze. Departing from the possibilities of intersectional analysis (Wilson 2021), this article proposes to think further on the ways in which the female gaze is related to intermediality and intersensuality, inviting the senses and the other arts to a symbiotic dialogue. In the connection between painting and film, the collaboration of the painter Hélène Delmaire is also investigated. Sciamma’s work dramatizes the process of becoming an image, implying objectification, and the role of the female perception and attachment in resisting to it. The process of painting becomes a mediator in processing emotions, giving voice to the unspeakable in an overflow of sensations and intermedial transformations.O drama romântico de Céline Sciamma de 2019 dá ênfase à representação pictórica relacionada com a questão do olhar feminino [female gaze]. O filme aborda a feminilidade ao empregar de modo quase exclusivo personagens do sexo feminino, mas também ao enfatizar manifestamente o poder do olhar feminino. Partindo de uma análise intersecional (Wilson 2021), o artigo propõe pensar mais a fundo os diferentes modos como o olhar feminino se encontra relacionado com a intermedialidade e a intersensualidade, convidando a um diálogo simbiótico entre os sentidos e as outras artes. Na relação entre pintura e cinema também se abordará o contributo da pintora Hélène Delmaire. O filme de Sciamma dramatiza o processo de transformação em imagem, o qual implica uma objectificação, e o papel da perceção feminina na tentativa de resistir a esse resultado. O processo de pintura torna-se mediador no processamento de emoções, dando voz ao indizível num extravasamento de sensações e de transformações intermediais
Belső vizeken kalózkodó : megjegyzések Lövétei Lázár László: Távolságtartás című kötetéhez
Full text linkNarrative Discourse, Memory and the Experience of Travel in W. G. Sebald’s Vertigo
No full textSebald’s first prose work, entitled Vertigo (Schwindel. Gefühle, 1990) is perhaps the most intriguing in terms of the absence of clear-cut links between the four narrative segments: “Beyle; or Love is a Madness Most Discrete,” “All’estero,” “Dr. K Takes the Waters at Riva” and “Il ritorno in patria.” Beyle, i.e. Stendhal, Dr. K, i.e. Kafka, and the first-person narrator of the two quasi-autobiographical parts, are three subjects living in distinct times and places, whose journeys and experiences coalesce into a Sebaldian puzzle to solve, challenging the most varied interpretive terms and discourses, from the Freudian uncanny, through intertextuality (Kristeva) and the indexicality of photography (Barthes, Sontag), to the working of cultural memory (Assmann) and the non-places of what Marc Augé calls hypermodernity. By trying to disclose the discursive strategies of a profoundly elusive and highly complex narrative, the article is aimed at pointing out the rhetorical and textual connections lying at the heart of Sebald’s floating way of writing, heralding a vertiginous oeuvre, an unsettling literary journey.
Archival and Fake Found Footage as Medial Figurations in Hungarian Experimental Filmmaking
No full textNo discurso teórico do filme de arquivo, pode-se detectar uma mudança do paradigma da recontextualização para o da estratégia retórica. Em termos dessa mudança, o filme de arquivo não é mais considerado como um modo de representação transparente da “realidade”, mas sim como figuração que cria tensão produtiva no curso da interação de imagens em movimento. Imagens de arquivo adquirem um papel proeminente no cinema experimental húngaro. O presente artigo centra-se em filmes de dois cineastas experimentais húngaros Gábor Bódy e András Jeles, em que o material de arquivo encena o confronto entre a memória privada e a consciência histórica. O artigo enfoca especialmente o papel das imagens falsas encontradas e das imagens de arquivo em American Torso (Amerikai anzix, 1975) de Gábor Bódy e Parallel Lives (Senkiföldje, 1993) de András Jeles.In the theoretical discourse of archival footage a shift can be detected from the paradigm of recontextualization to that of rhetorical strategy. In terms of this shift, archival footage is no longer regarded as a mode of transparent representation of “reality”, but rather as figuration that creates productive tension in the course of interaction of moving images. Archival footage acquires a prominent role in Hungarian experimental filmmaking. The present paper focuses on films by two Hungarian experimental filmmakers, Gábor Bódy and András Jeles, in which the archival material stages the confrontation between private memory and historical consciousness. The article especially focuses on the role of fake found footage and archival footage in Gábor Bódy’s American Torso (Amerikai anzix, 1975) and András Jeles’s Parallel Lives (Senkiföldje, 1993)
Interpretation – Artistic Reproduction – Translatability. Theoretical Queries
No full textAlong Wolfgang Iser’s considerations-formulated in his work entitled The Range of Interpretation-we can speak about translation whenever a shift of levels/registers takes place. Literary interpretation is essentially an act of translation. As Iser points out, the register to which interpretation translates always depends on the subject matter that is translated. Translation does not repeat its subject matter, making it redundant, but transposes it into another register while the subject matter itself is also tailored by the interpretive register. The presentation aims to discuss the question of translatability in relation to the hermeneutical concept of application, and proposes to rethink the issue of change of the medium of artistic expression in the light of the concept of artistic reproduction as posited by Hans-Georg Gadamer’s hermeneutics in his seminal work Truth and Method
A Melancholy Journey through Landscapes of Transience
No full textSaturn is the planet of melancholy, about which Walter Benjamin writes: “I came into the world under the sign of Saturn - the star of the slowest revolution, the planet of detours and delays.” W. G. Sebald’s prose poetics seems to be driven by this motion, which is more than a simple state of being: it is a way of perceiving the world as well as a way of writing, perpetual transition, walk, halt, deviation from the road, getting lost and finding the way back. The paper reflects on W. G. Sebald’s The Rings of Saturn (Die Ringe des Saturn: Eine englische Wallfahrt, 1995], a unique literary achievement deeply embedded into the history of literature, culture and the arts, which can be best construed from the direction of “the order of melancholy.” On the pages of the book the reader can traverse, together with the Sebald-narrator, a route in East Anglia, with digressions in various directions of (culture) history. The journey in the concrete physical space turns into an inner journey, into a spiritual pilgrimage; the traversed locations become documents of destruction and transience. From the perspective of the order of melancholy places are determined by their relations, temporality and role in history rather than by their concrete geographic coordinates. The infinitely rich construction of the narrative creates a continuous passage between the local and the universal, the concrete locations of the journey and the scenes of world history, between the time of the journey and the (colonial] past, between East and West. The traversed historical, cultural and medial spaces displace the perception of human existence and result in the incommensurable aesthetic experience of the Sebaldian prose
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