The paper focuses on the issue of cinematic representation of Milan. The approach is based on Henri Lefebvre’s well-known argument regarding the importance of the textual nature of the city per se applicable to the analysis of the cinematic city. The analysis considers the ways in which Italian filmmakers represent Milan. It attempts to outline the ‘classical map’ of textual Milan created in Italian cinema and examines its changes in Luca Guadagnino’s recent film Io sono l’amore ( I Am Love, 2009). The analysis of the configuration of the diegetic city-space together with the exploration of the narrative devices in the representation of the city in Guadagnino’s film help to delineate the significance of a new cityscape and evaluate the changes to the ‘classical map’ of cinematic Milan.
This paper examines the ways in which In Bruges by Martin McDonagh constitutes the cinematic Bruges. It explores the peculiarities of the narrative and the ways intertextual references are made to the artworks associated with the cultural history of Bruges (Flemish painting, Georges Rodenbach's novel Le Carillonneur) and the references to the texts which bear no relation to the history of Bruges (films on Venice, other cinematic texts, literary texts by McDonagh). The exploration of these narrative devices reveals that the interfusion of different discourses revitalizes and changes the 'Bruges myth' which occurs in a hypertextual dialogue with the 'Venetian myth'. The analysis of hypertextual dialogue shows the essential difference between the two textual cities. Instead of the excess of the visible, typical of representations of Venice, the film introduces the principle of the limitation of the visible as the main feature of Bruges. This inspires the conclusion connected to the model of travelling which In Bruges proposes. Keywordscinematic city, hypertextual relation, intertextual reference, model of travelling, Venice, Georges Rodenbach 'If I hadn't been able to shoot in Bruges, I would have scrapped the whole thing … It had to be in Bruges' (Martin McDonagh, in Caesar, 2008) In this article I will focus on the issue of textual representation of the city, or, more precisely, of the cinematic city. The growing interest in the problem of the cinematic city has inspired a quantity of research into the ways in which the text transforms real urban figures into fictional ones, organizes the signs to present them as, for example, Venetian or Parisian, and thus affects the formation of cities (see Clarke
The paper focuses on the issue of iconicity of (printed) literary narrative and proposes the idea of iconic reading (or iconicity of reading). It discusses Peircean notion of iconic sign, examines its use within the field of iconicity studies in language and literature (Olga Fischer, Christina Ljungberg, Winfried Nöth, etc.), and considers the differences of paradigms in iconicity research: (1) iconicity as a permanent property of a sign; imitation pattern – form mimes meaning; (2) iconicity as a variable quality of a sign, actualized by the speaker; imitation pattern – form miming form; (3) iconicity as the ground of human thought and a function of a sign, actualized by the reader / reading. Consideration of the differences within the field of iconicity research helps to reveal the underestimated textual aspects that actualize iconic dimension of literary narrative, and inspires to examine their role in the analysis of Lolita by Vladimir Nabokov, precisely, its “Foreword” (both original English and Russian versions). The analysis of the fictional “Foreword”, which establishes the pattern of iconization of the novel as a whole, and inevitably includes the references to its “main” part, shows how the novel iconizes writing. Withal, the analysis demonstrates how this iconization configures the particular model of reading, which becomes the representamen of the specific cognitive icon. The mental representamen of this icon “stands for” the specific object – the text as the tangible media product, marked by the structural and discursive traits of its own. Respectively, such (cognitive) icon represents the pattern of mimetic relationship between form and meaning, introduced by Lars Elleström (2010), – meaning mimes form, worthy of further consideration.
The research is devoted to the problem of artistic language, in particular, the German-language lyric poetry of the XX century. The object of the study is just one segment of the cultural space, i.e. “magical” nature poetry, which most vividly reflects the process of changing cultural paradigms and artistic orientations. The aim of the study is to identify the features and the moral-aesthetic orientation of the creative work of Oskar Loerke, the founder of magical nature poetry. The research is novel in that it is the first to analyse the artistic language of Loerke’s lyric poetry in the aspect of the author’s artistic activity theory. It is the first time that Loerke’s magical nature poetry is being considered as one of the ways to solve the poet’s creative task, i.e. the search for a new authentic artistic language in the epoch of cultural crisis. The relevance of the poet’s use of the magic word is substantiated, the basic principle of artistic space organisation based on dialogue is revealed. The researcher considers the poet’s belief in the extraordinary power of the word to be the main feature of Loerke’s lyric poetry, which brings his notion of the word closer to magic. However, the poet recognises the independence of the object to which the word is directed, its ability to exist, thus creating a dialogue situation. Dialogue becomes a key principle in the organisation of Loerke’s poetic world. As a result, it has been proved that by turning to the magic of the word, the poet solves the problem of the authenticity of a statement at the level of the organisation of the artistic image, creating the situation of experiencing a creative act – the making of a work.
The research objective includes identifying the moral and aesthetic value of lyrical works of the German-speaking poetess Selma Meerbaum-Eisinger in the context of literary process of the XX century. Special attention is paid to analysing the poetess’s artistic world model. The researcher points out that the changes in human consciousness that occurred at the turn of the XX-XXI centuries resulted in reinterpretation of the author’s role in the poetical statement. Scientific originality of the paper lies in the fact that the poetess’s lyrics is considered from the viewpoint of the author’s artistic activity theory developed by the domestic literary critic N. T. Rymar to study the novel genre. This theory allows deeper understanding of moral and aesthetic aspects of Selma Meerbaum-Eisinger’s poetry. The researcher concludes about humanistic value of the poetess’s lyrics, which is still to be examined thoroughly.
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