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Ritmo sąvokos metamorfozės Gilles’io Deleuze’o ir Félixo Guattari tekstuose

Author(s): Jūratė Baranova / Language(s): Lithuanian Issue: 4/2017

This article deals with the ability of the concept of rhythm functioning in the texts of Deleuze and Guattari to discern the lines of navigation of thought from philosophy towards different forms of art (literature, cinema, painting, music) and backwards. Starting from the dynamic cartography of the problems and concepts discerned as suitable for such thought experiments by Sauvagnargues, Buchanan, Bogue, and Zepke, this research comes to the conclusion that the concept of rhythm is a suitable link for navigation of the possible cohesions between philosophy and different arts. The concept of ‘rhythm’ becomes a philosophical concept in the texts of Deleuze and Guattari and gains the ontological status transcending limits of philosophy and arts. It functions in the territory between the sound, word, and image, as well as the work of art, philosophy and life. Mainly from this ontological perspective, this concept receives the power to reveal not only horizontal, but also vertical, genealogical aspects of art as the process of becoming.

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THE BRIDGE Issue 5/2020

Author(s): Gonca Özmen,Georgiana Aldessa Lincan,Elizabeta Sheleva,Sonja Biserko,Deyan Kiuranov,Ismail Tasholli,Robert Wilton,Fred Abrahams,Amila Kahrović-Posavljak,Péter Krasztev,Ardian-Christian Kyçyku /Kuciuk / Language(s): English Issue: 05/2020

« THE BRIDGE » is offered in PDFs comprising always a full issue, unsplit into individual articles. Please take a look into the TABLE of CONTENT and into the EDITORIAL (above ↑) to look for authors and texts of interest for you.

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THE BRIDGE Issue 6/2020

Author(s): Mehida Ardović,Krzysztof Czyżewski,Zharko Basheski,Šejla Kamerić,Josep Ramoneda,Aleksandar Prokopiev,Thomas Symeonidis,Andro Martinović,Amila Kahrović-Posavljak,Burhan Sönmez,Vladislav Bajac,Bashkim Shehu / Language(s): English Issue: 06/2020

« THE BRIDGE » is offered in PDF format comprising always the full issue as one file, not devided into individual articles. Please take a look into the TABLE of CONTENT and into the EDITORIAL for authors and texts of your interest.

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THE BRIDGE Issue 7/2020

Author(s): Asli Erdoğan,Perico Pastor,Ivan Yotov Krastev,Jordi Vaquer,Delina Fico,Arben Dedja,Wolfgang Klotz,Ion Caramitru,Nikola Madžirov / Language(s): English Issue: 07/2020

« THE BRIDGE » is offered in PDF format comprising always the full issue as one file, not divided into individual articles. Please take a look into the TABLE of CONTENT and into the EDITORIAL for authors and texts of your interest.

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Impact of Digital Technologies on Development of Creative Industries

Author(s): Evita Pilege,Sandra Plota,Girts Pilegis / Language(s): English Issue: X/2020

The aim of the paper is to analyze the impact of information technology on the development of creative industry in general, as well as during the Covid-19 pandemic. Finally, the Latvian Colleges of Culture project for the promotion of the competitiveness of the creative sector in the digital age will be described.

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PRADO: An Education Tool for Moorish Architectural Heritage through Virtual Reality

Author(s): Ahlem Kebir,Sabrina Kacher,Daniel Meneveaux / Language(s): English Issue: X/2020

This article presents a workflow for creating a 3D virtual environment, dedicated to the architectural heritage education. The objective is to make the process accessible to any museum, through a space by space construction. The obtained results are employed in a virtual tour of the Bardo of Algiers, a witness to Moorish palatial architecture.

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Digital Restoration and Preservation of Deteriorated Mural Paintings by Advanced 3D Measurement Technologies

Author(s): Rodica-Mariana Ion,Dan Adrian Vasile / Language(s): English Issue: X/2020

The external factors from nature are responsible for weathering of different monuments and cause considerable deterioration of Old mural Paintings. This paper presents a virtual reconstruction scheme useful for subsequent restoration processes of the degraded versions of the murals from Matia Loggia, Corvins’Castle, Hunedoara, Romania. The analysis of materials and techniques and the possible deterioration mechanisms are dis-cussed, too, correlated with the colour digital photography and mapping of visible painting degraded area were conducted.

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Architectural Analysis of the First Mosque in Aleppo Using Terrestrial Laser Scanning (Al- Shuaybiyya Mosque)

Author(s): Rahaf Orabi / Language(s): English Issue: X/2020

Al- Shuaybiyya Mosque in the old city of Aleppo is recorded in Arabic chronicles as the first mosque built in the city by the Muslims. Its position commemorates the location of their first prayer. It is suggested that it was built on over Roman remains, then rebuilt in Zengid period during the reign of Nur al- Din al- Zengi. It underwent a renovation in the 14th century, and possibly most of the surviving structure either dates to the Ayyubid or the Mamluk period. However, to our knowledge, this mosque has not been explored in the con-text of an analytical architectural study to trace the remains of each period. This paper aims to examine the architectural development of the mosque using terrestrial laser scanning to identify the elements of the previous structures. The use of laser scanning offers highly accurate survey results, in addition to a better identification of architectural elements and their relation to the structure and the modern-day city. The conducted survey-study suggests the chronology of the building (phases of construction and their limits), based on the architectural analysis of the digital model and consultation of previous studies and historical text.

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ГРАФИТИ КАО КУЛТУРА ОТПОРА МЛАДИХ (Прилог социологији свакодневног живота)

Author(s): Nemanja Đukić,Olivera Grbić / Language(s): Bosnian,Serbian Issue: 5/2020

Space is a political and ideological concept. (Lefebvre, 1977:341, 1991:278-282). Every order, every constellation of power intervenes in the space and transforms it into the territory to ensure its sustainability and prevent its overcoming. Hence, the territory is the power materialized in space. (Lefebvre, 2009:224). The territory is a politically organized space - a structured system of rules governing the exchange of meaning (culture), the exchange of goods (economy) and personal relations (sociability). At first, the authority trying to control space directly by the visual-aesthetic organization of space. The authority embodies itself in the space by defining and manifesting its power in monumental buildings. In that case, graffiti relativizes the physical control of space. As the visual disruption in the space, graffiti as a youth resistance has a direct connection with the moral disorder. Showing the inability of authority to control the physical space, graffiti takes away sovereignty from the authority in the most explicit way - in those places where authority celebrates its sovereignty through monumental buildings. Second, the authority trying to control space indirectly by standardization psychosocial connection between the meaning, behavior, and space. The authority embodies itself in the space by prescribing what type of behavior is acceptable and appropriate for a particular space. In that case, the presence of graffiti in the public space disturbs the dominant distribution of meaning. Graffiti relativizes the symbolic, social and psychological control over behavior in space, by counteracting the impersonal and static power of authority with the personal and fluid power of Lifeworld. As an act of rebellion and subversion against the authority that embodies its power in space, in the sociological sense graffiti represents the ontological and revolutionary potential of Lifeworld. As a non-territorial, transgressive and heterotopic, graffiti disrupt and prevents power in the continual production of territory. Graffiti deteriorate the space – by graffiti territory has been subjected to processes of destabilization, restructuring, and transformation. In short, graffiti shows that power is losing space.

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Lewis Barnavelt and the Rainbow over New Zebedee: Queering The House with a Clock in Its Walls

Author(s): Maciej Skowera / Language(s): English Issue: 1/2019

The paper discusses The House with a Clock in Its Walls (1973) by John Bellairs and its film adaptation, directed by Eli Roth (2018), from queer theory and gender studies perspectives. The author of the article aims to overview and develop existing queer in‑terpretations of the first novel in the Lewis Barnavelt series, with contextual references to the cycle’s subsequent volumes, and to conduct a queer theory ‑inspired analysis of Roth’s motion picture. The genre represented by the novel and the film is also consid‑ered by taking the scholarly reflections on the queer aspects of the Gothic and the hor‑ror into account. The author concludes that although both versions of the story fail at portraying femininity in an unconventional way, they succeed in showing that queer‑ness and, more generally, the Otherness should be highly appreciated and valued.

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„Nie ptak, nie samolot, a dziewczyna”. Wizje kobiecej dorosłości w Lekkiej księżniczce George’a MacDonalda i jej adaptacji na musical Tori Amos i Samuela Adamsona

Author(s): Natalia Kuc / Language(s): Polish Issue: 2/2019

The aim of the paper is to analyse The Light Princess (1864), a fairy tale by George MacDonald, and its musical adaptation from 2013 staged in the Royal National Theatre in London. The authors of the lyrics are Samuel Adamson, a playwright, and Tori Amos, a singer, who is also responsible for the music in the show. The fairy tale tells the story of a young princess cursed to be devoid of weight and the ability to feel sadness, as well as of her process of maturing into an adult woman. The author of the paper presents similarities and differences between the original tale dating to the late 19th century and its 21st century adaptation, along with their ties to folktale tropes. The analysis aims not only to set forth the vision of adulthood as described by MacDonald, but also to propound how the definitions of adulthood and womanhood could have changed over the course of a century of dynamic emancipation of women. According to the author, while MacDonald consciously subverts multiple fairy tale tropes, Adamson and Amos introduce modern elements to the text without integrating them into the fairy tale adaptation and with little regard for its folk inspirations. Driven by the desire to rewrite a modern, feminist version of the 19th century fairy tale, Adamson and Amos often achieve opposite results.

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Pierwszy pitawal wegetariański, czyli o ilustracjach Emilii Dziubak do Horroru Madleny Szeligi

Author(s): Anita Wincencjusz-Patyna / Language(s): Polish Issue: 1/2020

In the article, the author focuses on the visual aspects of the book entitled Horror, written by Madlena Szeliga and illustrated by Emilia Dziubak, published by Gereon from Krakow in 2017. It is a collection of twenty literary miniatures which describe the tragical fate of seventeen different species of vegetables and fruit, and also champignons, a sunflower, and nettles, treated as food on a regular basis, whereas here they are depicted as living, and therefore feeling, specimens. The book makes interesting references to a centuries-old tradition of representing death, martyrdom, and suffering as well as vanitas threads popular especially in the period of Baroque rather than to a horror repertoire. For horror as a genre is quite well established in literature and film studies and not so much in fine arts research, the article discusses inspirations from Early Modern European painting, both religious, allegorical, and still life, as well as from Baroque epitaphs and ornamentation, very creatively used by the illustrator. The author of the article also underlines the tradition of animation and personification of plants which derives from the 19th-century European book illustration.

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W nieznane. Zaświaty i tanatyczne katharsis w serialu animowanym Po drugiej stronie muru Patricka McHale’a

Author(s): Piotr Prósinowski,Piotr Krzywdziński / Language(s): Polish Issue: 1/2020

Death, sadness, alienation, and confusion are themes that are rarely associated with children’s animated series. Nevertheless, there are multi-episode TV programs that – similarly to books, video games, and films – raise such issues even though they are created for young viewers. In that way, they not only break the cultural taboo, but also offer aesthetics and sensitivity that complement the image of mainstream children’s programming as laid-back and cheerful. As an interesting example, one might point to Patrick McHale’s Over the Garden Wall (2014), an animated series that deals with such themes as fear or death in a unique way, showing them against the background of adventure and wandering. In this article, the authors focus on the ways in which the work resonates with the mentioned motifs, but also with history and popular culture. The analysis leads to a conclusion that Over the Garden Wall is an intertextual series, open to interpretation for younger and older viewers alike, as well as enabling the experience of a Thanatic catharsis – a cleansing from the negative feelings associated with death and loss.

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DYNAMIQUE DES RAPPORTS DE PLACES ET DES IMAGES IDENTITAIRES DANS LES PARENTS TERRIBLES DE JEAN COCTEAU

Author(s): Ligia Stela Florea / Language(s): French Issue: 2/2020

Dynamics of Place Relationships and Identity Images in Les parents terribles by Jean Cocteau. The article aims to study the dynamics of the place relationships between mother and son in scene IV of the first act of the above- mentioned play. This relationship, which represents the central theme of the play, is based on authority and domination and the son will try to ward off by resorting to a strategy. We will try to see first of all what this strategy consists of and what effect it will have on the evolution of the relationships between the two characters. Then, the study of the successive phases through which verbal interaction goes through (conversation, discussion, argument) will allow us to show how the plurality of interlocutive roles influences the dynamics of place relationships and identity images.

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TROIS SCÈNES DE BAL DANS LE ROMAN FRANÇAIS (« LA PRINCESSE DE CLÈVES », « MADAME BOVARY », « LE RAVISSEMENT DE LOL V STEIN »)

Author(s): Marius Popa / Language(s): French Issue: 2/2020

Three Ball Scenes in the French Novel (“La Princesse de Clèves”, “Madame Bovary”, “Le Ravissement de Lol V Stein”). This article aims to analyze – in a comparative manner – three ball scenes from novels belonging to leading authors of French literature (Madame de Lafayette, Gustave Flaubert and Marguerite Duras), highlighting a series of dramatic mechanisms used by novelists in the construction of such a diegetic plot. If La Princesse de Clèves describes a ball that takes place in the royal court, with all the typical scenes of the time (embodied in a real mixture of intrigue and gallantry specific to the living environment of the actors, which make the topos of the novel itself become a collective character), Madame Bovary describes, instead, a ball animated by the high society of the nineteenth century, with all the specifics of the realistic episteme (the ball becomes here an opportunity to evoke the painful contrast between different living environments, which the heroine cannot access and which causes her, consequently, to take refuge in an imaginary universe). Much closer to the spirit of contemporaneity, Le Ravissement de Lol V Stein, the famous “nouveau roman”, relies on an image of the harmful and destructive ball, paying particular attention to the psyche of the characters. These novels lean – starting from this narrative pretext of the ball – on some love stories built through specific strategies of the theatre, which is, in essence, the central object of our analysis.

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ÉCRAN ET ROMAN SUR LA SCÈNE: RÉFLEXION CROISÉE SUR TROIS SPECTACLES DE KRYSTIAN LUPA

Author(s): Camille Protar / Language(s): French Issue: 2/2020

Screen and Novel on Stage: a Cross Reflection on three Krystian Lupa’s Shows. Through the analysis of three shows – City of dream based on The Other Side by Alfred Kubin, Gargoyles and Cutting Timber based on Thomas Bernhard’s novels – this article aims at highlighting the specificity of on-stage video in Krystian Lupa’s work. Best known for his adaptations of long novels focusing on conscience and interiority, Lupa supersedes a basic use of video and uses it as a real means for the exploration of the characters’ psyche. More than a mere visual element facilitating the transition from novel to stage, video is for Krystian Lupa a way to interrogate the relationship between all the elements of theatre: indeed, it questions the actor’s relationship to the character he embodies, as well as the relationship between the spectator and what happens on stage.

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LE POTENTIEL THÉÂTRAL CHEZ DAVID FOENKINOS. ANALYSE DU ROMAN, DU SCÉNARIO ET DU FILM LA DÉLICATESSE

Author(s): Alina Aluaș / Language(s): French Issue: 2/2020

The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film.

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Sztuka, twórczość artystyczna i modlitwa

Author(s): Janusz Królikowski / Language(s): Polish Issue: 2/2020

One of the key questions with which contemporary theology has to deal is providing support for art, so that it could perform its tradition-honoured role of a „mediator” in relation between man and God. Works of art, especially paintings, have proven their unquestionable value in this respect more than once. The unique role of paintings finds its manifestation particularly in prayer which constitutes a privileged place of meeting between man and God. Artistic creativity in its internal dynamism may constitute substantial aid in this respect, since it not only provides the believers with actual visualisations of religious themes, but also conveys the example for man of how to go beyond oneself, which plays the fundamental role in religion and spirituality.

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Spectral Toxicity: Atmospheres of Radiation in HBO’s Chernobyl and Svetlana Alexievich’s Voices of Chernobyl

Author(s): Nicolai Skiveren / Language(s): English Issue: 2/2020

This article presents a comparative analysis of HBO’s mini-series Chernobyl (2019) and Svetlana Alexievich’s literary testimonies Voices of Chernobyl: The Oral History of a Nuclear Disaster (1997) – both of which represent the events and the aftermath of the Chernobyl nuclear accident in 1986. As a case study in intermedial ecocriticism, the comparative study investigates the ability of each media product to make perceptible the forces of radiation, focusing in particular on what it feels like to inhabit the atmospheres of contamination that the two media products invite their viewers and readers to enter. The article proposes the neologism ‘spectral toxicity’ as a means to describe these atmospheres in which the presence of a threatening nonhuman force feels immanent and impending while also remaining imperceptible. Methodologically, the article is situated in the intersection of ecocriticism and intermedial studies, as it seeks to elucidate the phenomenologically distinct ways in which Voices of Chernobyl, as a literary work, and Chernobyl, as an audio-visual work, employ different aesthetic strategies to represent radiation and to mobilize affective experiences. The article argues that both works employ a type of indexical aesthetics, but that the choice of index differs depending on the modality of the media product. Whereas the mini-series constructs a rich soundscape and striking images of bodily decay, Voices of Chernobyl provides a polyphony of first person testimonies about the dehumanizing experience of radiation exposure. By comparing the two media products in terms of the experiences they create, the study illustrates the varying affordances of literary and audio-visual media for representing the phenomenon of radiation and the consequences of nuclear disaster.

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Adrift in History, Who Is This One?: Art in the Critical Zone

Author(s): Christine Ramsay / Language(s): English Issue: 2/2020

This article explores the capacity of art for representing the question of ecological grief now confronting us in the Anthropocene. My art work is an ongoing series of drawings and paintings of dead birds entitled “Adrift in History.” In reflecting on the meaning of this artistic practice through environmental narrative and art as a complex site of productive experimentation, I place the experience of grief—regarding both human and animal mortality in our rapidly diminishing environment in the Anthropocene—on display and for interpretation within multiple modalities. This project brings together art, literature, poetry, psychology, philosophy, phenomenology, environmentalism, cultural ecology, anthropology, ornithology, and naturalism to frame the cycle of life, death and transformation. My goal is to juxtapose an ecocritical theoretical lens with the art work to create a discursive intermedial effect—one that asks, reflexively, what the value might be of contemplating, while creating, an interspecies, archetypal image of the soul and its potential emotional resonance in the traumatic contemporary moment of the Anthropocene condition. In “Who Is This One?”—a recent suite in the series “Adrift in History”—I dwell on the image of the North American robin—Turdus migratorius—a common backyard species, and one of the many birds now facing great risk. So, I depict the robin at rest, contingently, in a state of limbo between life, death and the after-life. Influenced by Jon Young’s environmental narrative, What the Robin Knows: How Birds Reveal the Secrets of the Natural World, and the ecocritical concept of strategic empathy, I represent what the robin might feel. I am interested in how such images—and their capacity to evoke sympathy in the system of affinities between the embodied human mind and the more-than-human world enfolding animals, nature, and the environment as interdependent forces—might contribute to efforts to move us through and beyond grief, toward active investment as answerable, and ethical agents of social change.

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