Intertexuality Theory

The resettlement housing represented the urban development and the residential requirements of the era after the Second World War. The spatial patterns and construction methods of self-built extensions of the housing further signified the ordinary people's additional needs for residences after WWII until the introduction of the 'Current Measure of Clamping Down on Illegal Construction of Taipei City' in 1996. This research has taken the view of vernacular and modern construction history to analyze the tectonic morphology of self-construction and the spatial contexts of resettlement housings and their extension. The aim of this research is to provide an alternative understanding of planning and extension of ordinary people's spaces. By inducing self-built extensions from spatial morphology of orientation, public and private areas, and spatial uses, and from tectonic morphology of foundation, vertical supports, enclosures, and top covering, this study attempted to clarify the foundation of self-construction from the original housing designs, such as atriums, the balconies, or canopies. Moreover, it is also crucial to reveal the tectonic morphology of self-construction to support the needs of spatial morphology. This will further provide the background to see the agreement and regulation of social coordination and the changes in the view of vernacular architecture. This research would provide a comprehensive method to understand the self-construction of resettlement housing. 收件日期：2024.

Književni opus Slobodana Novaka uživa osobit status u hrvatskoj književnosti. Njegove brojne stranice-novelističke, romaneskne, polemičarske i dr.reprezentativna su i povlaštena mjesta njezine kulture, a u portretu pisca pak, svojevrsni zaštitni znakovi, pamtljiva i obvezujuća književna baština kanonskog predznaka.

Stando ai principali censimenti di manoscritti danteschi – da De Batines a Roddewig – sul totale di oltre 800 codici della Commedia, meno dell’1% fu realizzato durante il Seicento. Il nudo dato numerico è del tutto comprensibile dopo oltre un secolo di edizioni a stampa e in una fase di indubbia depressione degli studi sul poema, eppure ritenerlo elemento unico su cui formulare un giudizio complessivo sul periodo pare esagerato. Non si tiene in effetti conto dell’esistenza di un significativo patrimonio di documenti diversi da mere trascrizioni del poema che molto possono dire circa le discussioni suscitate dalla lettura del testo anche durante il Seicento: bozze di trattati, schedature, postille, lettere fra eruditi.

Tra le carte di Elia Marcelli – autore del poema dialettale autobiografico sulla tragedia dell’ARMIR «Li Romani in Russia» (1988) – conservate dalla Biblioteca nazionale centrale di Roma, molto spazio è dedicato alle memorie della propria formazione nella Roma degli anni ‘30, nell’attrito fra educazione di regime e maturazione di una coscienza libertaria, antifascista e antimilitarista attraverso la lettura di libri “altri” da quelli proposti dai canoni scolastici e universitari. Da una serie di scritti inediti sull’argomento – a partire dal poemetto «I ragazzi di piazza Paradiso» – spiccano le letture giovanili di Croce (oggetto nel ’39 di una spericolata tesi di laurea, difesa da Sapegno e avversata da Gentile) e delle lettere politiche di Tolstoj, che lo avvicineranno alla causa antimilitarista e alla fondazione del clandestino Fronte Bianco Popolare (1943) e della Lega Pacifista Italiana (1945). Ai rilievi sulle carte potrà accompagnarsi la rilettura di alcuni snodi dell’opera edita.

Breathe easily. Epuration has ended. After a dozen years of clandestine whispering we are permitted to mention, even to discuss, the auteur again. 1 Since 1990 Hors Cadre has devoted an entire issue to "L'Etat de I' auteur"; Film Quarterly has published James Naremore's "Authorship and the Cultural Politics of Film Criticism"; and Rutgers has brought out Timothy Corrigan's A Cinema Without Walls, a book that reads like a compendium of contemporary directorial talent and that includes a specific chapter on the status of the auteur today. 2 No matter what each of us thought, or thinks, of ideological criticism, it was ruthless when it came to proper names, most ruthless of all toward those names that authorized naming in the first place: Truffaut, Rohmer, and behind them, Andre Bazin. Without trying to settle scores, I am happy to call attention once more to what may be Bazin's most significant insight into the medium he so loved: the cinema, he felt, was congenitally impure. No effort to purify it could long succeed: not the Dadaists of the twenties nor the Lettrists of his own day, not the Cinema-Verite movement of the sixties nor the political avant-garde that after 1968 marched in step with the changing of the guard at Cahiers du Cinema. In fact, Cahiers in its first years had religiously pursued purity, latching onto Sartre' s notion of "authenticity," where an individual authors his or her life in choice and where writers and filmmakers authenticate their work in style. Even though auteurism had been fostered as a way of recovering a large number of otherwise disposable studio-made movies, it carried with it the aura of elitism emanating from the French cine-clubs of the postwar years and from festivals where auteurs were annually inducted and honored as individuals with strong (invariably masculine) personalities producing art capable of transcending its conditions of pro

Se più de' carmi, il computar s'ascolta". Proposte per una valutazione mensurale delle inarcature eliSa BaRBiSan (Università degli Studi di Padova) Marcare il limite. ambiguità e rafforzamento semantico nelle inarcature grammaticali secondo-novecentesche Pausa luCa zuliani (Università degli Studi di Padova) le inarcature di Caproni Progetto PRIN 2022 "MeCo. Le forme della poesia italiana contemporanea" Codice Progetto 2022FFR2YY -CUP C53D23007050006 Responsabile scientifico prof. Fabio Magro. Convegno di studi MeCo. Le forme della poesia italiana contemporanea "Col / favore della musa" Teorie e pratiche dell'inarcatura nel Novecento

Il convegno indaga la cultura veneta dell’Ottocento, una delle realtà più dinamiche e rilevanti del secolo seppure misconosciuta all’interno di un quadro storiografico che non ha sufficientemente considerato le diverse articolazioni geografiche del periodo risorgimentale. L’esplorazione della vivace realtà veneta costituisce quindi una tappa fondamentale di un percorso critico e storiografico che intende proporre una nuova mappatura della cultura ottocentesca; il convegno sarà l’occasione per mettere a fuoco il contributo fornito dalla regione allo sviluppo di una moderna cultura artistica, teatrale e letteraria.
Le studiose e gli studiosi italiani e stranieri invitati a tenere relazioni si soffermeranno sulla molteplicità di autrici e autori, attivi sul palcoscenico veneto, indagati finora in modo parziale e meritevoli di nuovi approfondimenti come, tra altri, Luigi Carrer, Francesco Dall’Ongaro, Erminia Fuà Fusinato, Giacinto Gallina, Bartolomeo Gamba, Daniele Manin, Francesco Maria Piave, Ippolito Nievo, Amalia Pincherle Rosselli, Giustina Renier Michiel, Emilio de Tipaldo, Niccolò Tommaseo, Luigia Codemo.
Un’attenzione particolare sarà dedicata a Ippolito Nievo, al centro della prima sessione dell’incontro, in cui si presentano i risultati di un progetto nazionale che ha visto coinvolte diverse università e ha indagato il ruolo letterario, culturale e politico di Nievo nel cosiddetto “decennio di preparazione” all’Unità, soffermandosi poi sulla sua prima ricezione in ambito scapigliato. Le edizioni filologiche e commentate dei testi d’autore presso l’Edizione Nazionale delle Opere di Ippolito Nievo, le monografie e gli articoli scientifici frutto di un lavoro pluriennale saranno presentati all’inizio del convegno.

In June 1995, Heiner Miiller’s last production premiered at the Berliner Ensemble – Brecht’s The Resistible Rise of Arturo Ui. Fifteen years later, it continues to be part of the repertoire, selling out each and every evening. Having been performed worldwide more than three hundred times, the production is still celebrated by audiences and critics alike wherever it is shown. What makes it so successful? And this not only in Berlin and Germany, but on all five continents? Although the Berliner Zeitung critic could not have foreseen such unprecedented success, he gave a plausible answer after perusing the fifty most important reviews published in the wake of the première: ‘When, the morning after, the critics wrote their reviews for Berlin and the world, his name blazed in fiery letters: Wuttke! Wuttke! Wuttke!’. And in fact, there was no critic who, full of admiration and amazement, did not speculate on the extraordinary PRESENCE displayed by actor Martin Wuttke, starring as Arturo Ui, which kept spectators spellbound throughout the performance.

Varanasi is one of the oldest living cities in the world it is best known for cultural heritage. It is a city of temples, ghats, and cultural pluralism. There are two crematorium grounds in the history of Kashi (Varanasi) which are famous for burning dead bodies, Manikarnika and Harishchandra Ghat. The Dom community performs an important task of cremation of Hindus at Manikarnika and Harishchandra Ghat in the Varanasi district of Uttar Pradesh. The Dom was classified as a Scheduled Caste under article 341 of the Indian constitution. According to the census of 2011 the total population of the Dom community stands at 110,353. They are believed to be the descendant of Dom Raja and the caretaker of the crematorium grounds. The Hindus believed that the dead man would attain moksha only when the Dom or Dom raja lights the pyres, and rituals are considered to be complete only after this. The Dom community has long been considered one of India's untouchable castes regardless of the contribution they make to the society. They have faced a great deal of prejudice, social persecution, and ostracism. About 250-300 of them reside around the ghats of Varanasi cut off from the rest of the city. The researcher has selected two Ghats of Varanasi for the purpose of this study namely, Manikarnika and Harishchandra Ghat. This paper is an attempt to study the livelihood pattern and socioeconomic background of the Dom community of Manikarnika and Harishchandra Ghat of Varanasi district of U.P.

This chapter elaborates on Mainemelis, Kark, and Epitropaki's (2015) multi-context model of creative leadership. More specifically, we focus on integrative leadership, one of the three contexts outlined in the model. Integrative leadership is a context in which multiple non-similar professionals provide highly heterogeneous inputs that need to be integrated. How the integration occurs, though, is still not fully understood. We therefore explore how integrative leadership occurs in the filmmaking industry through examples from six renowned film directors. In this position paper, we hypothesize that directors vary considerably in the extent to which they practice integration in an autocratic vs. a democratic manner. Furthermore, we hypothesize seven factors related to variation along that continuum: (1) The personality of the director, in particular, their apparent need for control; (2) The temporality of involvement of others in crafting the vision: early vs. late; (3) Secrecy, or the extent to which directors protect the creative process from others vs. leave it open; (4) Directors' tendency to work with the same crew and cast across different movies or not; (5) Consolidation of roles by the director; (6) Technology; and (7) The organization of the filmmaking process.

izraza ima utjecaj vidljiv u semantičkoj strukturi, ovaj rad postavlja
pitanje o funkciji pripovijedanja iz prvog lica jednine u vampirskoj
pripovijesti, tražeći odgovore na književnom predlošku koji je u
vampirsku pripovijest uveo tu inovaciju, Razgovoru s vampirom
(1976.) Anne Rice. Uvodno se nastoji odrediti sam pojam i povijest
vampirske pripovijesti te predstaviti skup temeljnih motiva po kojima
je ta pripovijest prepoznatljiva. Nakon toga, primjerima dvaju
teoretskih modela pokušava se prikazati različite pripovjedačke situacije
koje pripovjedni tekst može sadržavati, s posebnim naglaskom
na pripovijedanje iz prvog lica jednine i njegov odnos prema ostalim
mogućnostima. Konačno, analiziraju se konkretni učinci koje pripovijedanje
iz (vampirskog) prvog lica ostvaruje u Razgovoru s vampirom,
potkrepljujući ih navodima iz toga djela te ih sučeljavajući s
primjerima iz drugih klasika vampirske pripovijesti. Uvođenje pripovijedanja
iz prvog lica u vampirsku pripovijest dovodi do intrigantnog
otklona od njezinih konvencija. Lik vampira, kojeg je u pravilu
karakterizirala tajnovitost i nedostupnost, time se maksimalno približava
čitateljima te se posve razotkriva, zadržavajući svoje osobine
istovremeno strašnog i privlačnog, samo mijenjajući način na koje
djeluju.
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Considering that every choice made on the expression plane of
narrative text has its visible impact in the semantic structure of that
text, this paper tries to explicate the function of a first-person narration
in vampire stories by analyzing literary model which introduced
mentioned innovation for the first time, Anne Rice’s novel Interview
with the Vampire (1976). In the introductory part the paper attempts to
define the concept of a vampire story and describe its long history
along with aggregation of its fundamental characteristic motives.
After that, two theoretical models are used to describe different
narrative situations which are possible within the narrative text,
focusing on the first-person narration and its relations to other
possibilities. Finally, specific effect achieved by the (vampire’s) firstperson
narration in Interview with the Vampire is being analyzed, with
hypothesis being supported with quotes from that novel and contrasted
with examples from other classical vampire stories. In the conclusion
it is stated that the introduction of a first-person narration into vampire
story results with intriguing deflections from its conventions. Vampire
character, conventionally characterized as mysterious and unreachable,
becomes maximally close to the reader and completely exposes
itself, maintaining his characteristics of dreadfulness and attractiveness
at the same time, but changing the way those characteristics
act.

Rad se bavi problemom metatekstualnosti u Osterovim romanima. Polazi se od premise da ovaj pojam, iako u teoriji književnosti znan odavno i korelira sa autoreferencijalnošću, u postmodernizmu dobija specifičnu funkcionalnost. Kako pisci postmodernizma imaju naglašenu literarnu svest i problematizuju (sopstveni) stvaralački čin, time se uloga metateksta intenzivira sugerišući upravo sve referentne poetičke koordinate postmodernističke književnosti. Upravo to je slučaj i sa prozom Pola Ostera na čijem se reprezentativnom uzorku gradje polazna premisa dokazuje.
KLJUČNE REČI: metatekst, postmodernizam, Pol Oster, identitet, autoreferencijalnost

Nema sumnje da se komparatistika davno oslobodila prvobitnog proučavanja odnosa između pojedinačnih nacionalnih književnosti posredstvom izvora i uticaja i da je, prekoračivši granice između jezika, kultura i disciplina, između književnosti, umjetnosti, politike i javnog života, krenula putem kulturoloških studija. Njen predmet je ostalo, dakako, naporedno proučavanje jezika i književnosti, ali u transnacionalnom, interkulturalnom i intermedijskom kontekstu. Riječ je o internacionalnoj recepciji autora i njihovih djela, o vrstama poigravanja posredstvom intertekstualnosti, o preispitivanju konvencija književnih oblika i rodova na transkulturnom planu, te o utvrđivanju promjenljivih veza između različitih umjetničkih i kulturnih sistema znakova (književnost i slikarstvo, odnosno film, muzika). Komparatistika u novom ključu, kako je krajem osamdsetih godina 20. vijeka predvidio Zoran Konstantinovid, a početkom 21. vijeka potvrdio Džonatan Kaler, i dalje vodi glavnu riječ u najaktuelnijim metodološkim i teorijskim polemikama u svim humanističkim disciplinama, ali u kontekstu toliko proširenom da joj danas često pripisuju ulogu "kulturne poetike". Zbog svega prethodno rečenog odlučili smo se na tematski broj Komparatistika u novom ključu okupivši zanimljive teme i autore koji bi sa stanovišta savremenog trenutka osvijetlili transformacije ove discipline na putu objedinjavanja traganja za istorijskim uslovljenostima u literaturi i zapažanja vanistorijskih estetskih vrijednosti. Tako u radu Hipertekstualnost kao komparitivistički problem Branko Tošovid na primjeru tekstova srpskih, ruskih i poljskih autora, razmatra fenomen hiperteksta, njegove karakteristike, strukturu, osnovne modele i funkcije, ističudi i poseban način na koji se u različitim nacionalnim sredinama preispituju konvencije književnog stvaralaštva i unose nove dimenzije poput interaktivnosti, intermedijalnosti i hibridnosti. Miodrag Loma u Koncepciji istorije svetske književnosti kod Ervina Latsa razmatra pretpostavke Latsovog književnoistoriografskog pristupa, shvatanje žanrovskog uticaja i ranga, kao i ključne književnoistorijske i kritičke pojmove čuvenog naučnika u čijim se pojedinim segmentima mogu prepoznati i uticaji Getea i Šilera. U radu Kultura kao intertekst-napomene uz problem recepcije semantičkih modela Siniša Jelušid u okviru termina intertekst, prototekst i metatekst promišlja značenja odnosa između vizantijske kulture i slovenskih kultura u kojima se razlikuje odnos transplantacije i odnos recepcije. Takođe, autor teži da odredi bazične atribute južnoslovenskog kulturnog, tj. književnog

INTERTEKSTUALNOST U DJELU ŠEJHA JUJE KOMENTAR "STOTINU REGENSA" * Sažetak U radu se intertekstualnost u djelu Šejha Juje Komentar "Stotinu regensa" posmatra iz ugla poststrukturalnih teorija po kojima svaki tekst nastaje kao spoj čitavog univerzuma tekstova. Kako je riječ o klasičnom tekstu rukopisa i komentaru, u njemu dominira citatnost kao postupak eksplicitne intertekstualnosti isticanjem prototeksta u odnosu na metatekst. U radu će se problematizirati smještanje orijentalno-islamske kulture u kulture izrazito iluminativnog citatnog tipa, te utvrditi elementi po kojima se ona izdvaja kao kultura dijahronijskog i sinhronijskog prožimanja ilustrativnog i iluminativnog tipa citatnosti. Citatne relacije i citatni dijalog u tekstu rukopisa koji se uspostavljaju sa različitim tekstovima arapske gramatičke tradicije, ali i drugim tekstovima, primarno Kur'anom, omogućuju uspostavljanje hijerarhije autoriteta i vrijednosti u orijentalno-islamskoj kulturi. S tim u vezi, u radu će se pokušati odgovoriti na pitanje koliko je Šejh Jujo za svoje vrijeme originalan i inventivan autor, a koliko je njegova kreativnost ugrožena učestalom citatnošću. * Ovaj rad je prezentiran na Naučnom skupu "Kulturno-historijski tokovi u Bosni od 15. do 19. stoljeća" održanom između 15-17. maja 2015. godine kojim je obilježeno 65 godina rada Orijentalnog instituta u Sarajevu.

Modernistički dualizam izraţen u figuri plesača SAŢETAK: Tokom ovog rada nastojao se pokazati značaj ideje dualizma u modernizmu u smislu prevrednovanja binarne opreke na kojoj je ona zasnovana te kako su figura plesača i motiv plesa bili čest način na koji je ta ideja reprezentirana upravo stoga što su i sami konstituirani prevrednovanjem i izvrtanjem opreke-ideja dijalektičkog prevrednovanja dualizma prizvala je figuru konstituiranu na istovjetnom načelu. Na korpusu djela umjetnika koji se proteţe od jezerskih pjesnika preko Nietzschea do francuskih i engleskih modernista, nastojala se pokazati geneza koncepta romantičke slike te pratiti način na koji se ona razvijala i kako se njeno značenje i forma obogaćivalo od pojave u engleskom romantizmu pa sve do Eliotova koncepta objektivnog korelativa koji dosta duguje romantičarskoj tradiciji. Pri tome je upućeno na razlike koje se na formalnom i sadrţajnom planu dogaĎaju od romantizma prema modernizmu, najnačelnija meĎu kojima je pomak prema metafizici gradnje vlastitih svjetova iz elementarnih dijelova stvarnoga svijeta do kojih je on razgraĎen u procesu temeljite misaone analize. Shodno tome prati se porast vaţnosti plesača i plesa-od figure plesača kroz koju se u principu izricao jedan svjetonazor, sve do plesa kao strukturnog motiva u kojem je prepoznato uspješno premošćenje i relativizacija temeljnih parova binarne opreke i koji je stoga posluţio kao inspiracija za konstrukciju djela umjetnosti.

Članak interpretira djelo iz naslova tumačeći kako ono usložnjava žanrovske odrednice likova, događaja, mjesta i vremena. Razjašnjene su i posljedice na značenje koje ovakvi postupci uzrokuju. U žanrovskom smislu, novela tako počinje rasti prema pripovijetki i romanu. Tumače se također odrednice biblizama, hrane, tragike i komike, moguće netolerancije te razgovori. Horvatićeva novela ipak uspijeva zadržati visoku razinu jasnoće i protočnosti. Autor predlaže nekoliko metodičkih postupaka primjenjivih u nastavi: odnos s poviješću, odnos s filmovima Schindlerova lista, Valkyre i Duga, mračna noć te novo pripovijedanje iz pozicije različitih likova, novo pripovijedanje s promijenjenim završetkom i dopunu karakterizacija likova.The paper interprets the short story from the title by explaining the way the text multiplies with variations the traditional elements of the genre – characters, events, place and time. The influence of the afore mentioned procedures on the meaning are aslo expoun...

This conversation is a playful exploration of poetry, beginning with a game of translating phrases into an unknown language of partial bijections (A bijection is a type of function between two sets, where every element in one set has a unique corresponding element in the other set, and vice versa. In other words, a bijection is a function that maps each element in one set to a different element in another set, and each element in the second set is mapped back to a unique element in the first set). It is presented in the context of a fictional Journal of Poetic Exploration. The conversation bumps into the idea of Raphèl, the act of being attracted to what is abandoned, and how it relates to disobedience and empathy towards the suffering of others. The Tower of Babel is used as a metaphor for the human condition, and the power of Raphèl is discussed as a means of turning hell into heaven. The conversation ends with a reflection on the importance of poetry in understanding the human experience.

The Tower of Babel serves as a metaphor for the multiplicity of language and its ability to both connect and divide. Through a deep exploration of the essence of poetry and the power of Raphèl, the article highlights the bijection between the human experience and poetic expression. It should be noted that the referenced journal is entirely fictional, representing a playful nod to the infinite potential of language and imagination.

Game-Theater is a hybrid phenomenon which arises from the Intermediality of video game and theater. This inter-medial production carries the features and specifications of both performing events. The immersed atmosphere of this hybrid performative phenomena leads to a unique theatrical experience, actively engaging participants in the performance space. Although theatre audiences always participate in any theatre as a spectator, in Game-theatre, audience participation is not passive since it is inevitably necessary for the completion of the performance. The audience is not only the player of a video game but also acts as a character in the play. Therefore, the spectator is transforming to spect-actor. Other creative members of the group (including actors) should adjust and react according to this active participation. In this interactive theatre production, the spect-actor is free to choose actions, interact with actors and wander in the architectural space of the performance on the basis of a story telling event. Considering the nonlinear, live and interactive nature of this production, the script keeps an open structure in order for the variables that are brought into the performance by the audience participation. In other words, the participant’s choices, actions and Gestus in combination with a narrative dramatic core give birth to a performance-text particularly designed for an immersive and interactive performance. This text transforms with each and every participant. The participant not only interacts with the performance on stage but also with the script. These features give an unpredictable characteristic to game-theatre, however the shaping the whole process is based on a dramatic core which is a way to unify all actions. Furthermore, it helps the performance to maintain its goal that is the final promised achievement similar to video games. This final achievement and predictable future is very similar to the determined destiny of a tragic character. During the performance, the spect-actor should challenge with side quests, a turning point and a resolution to carry on the predesignated mission. One should note that in the first encounters with a production, the spectator doesn’t have skills and knowledge equal with other prepared members of the performance group. Therefore, the simplicity and familiarity of the narrative and the initial introduction of characters are essential. Aristotelian drama can provide an appropriate narrative core to encourage role-playing and action. However, according to the dynamic and ever-changing nature of Game-Theater, the script is not anymore a solid base from which to perform, but it should be considered as a foundation material which undergoes a transformation. Hence, the concept of change in media according to the theory of intertextuality, can validate the inevitable dynamic transformation of Aristotelian plays into a performance text while performing Game-Theater. In this process, the encounter of spectator as a cultural text with an Aristotelian drama as the hypertext, produces a performative Intertext. This Intertext contains both verbal and performing elements and should remain open to audience participation. This study tries to explain how the process of interaction and co-execution affects the structure and dramatic elements of an Aristotelian drama as an appropriate dramatic core for Game-Theater.

Besides urbanism, intermediality is another common characteristic where the continuity of the Croatian short story of the eighties and nineties can be found. Usually these two characteristics are interwoven; intermedial strategies often create a subtext of urbanism. The adaptations from the newspapers, movies, television, hyper-and cybertext confirm the thesis about the absolute pluralism and the incomplete convention of the prose text, and the lack of the final form as well. The method of quotations, especially the use of intermedial quotations, is probably the most characteristic and visible feature in the Croatian short story of the eighties and nineties. This feature gains in importance if we take into consideration that in the Hungarian short story there is a traditional emphasis on intertextuality. The revolutionary changes in the Gutenberg-galaxy refer to the edefinition of the role of the literary text, the reader and the author. With the phenomenon of computer-technology an...

Cilj je ovog diplomskog rada prikazati koliko su romani Kratki izlet Antuna Šoljana, Kužiš, stari moj Zvonimira Majdaka, Polagana predaja Gorana Tribusona, i Bolja polovica hrabrosti Ivana Slamniga bogati jeans-značajkama i koliko su usporedivi s kratkim pričama Carmen Klein iz njezine zbirke Između zidova i preko njih, kao i sa stripovima Dubravka Matakovića i filmskom umjetnošću općenito, uz primjer eksperimentalnog filma Sve ili ništa Ivana Martinca i igranog filma Kužiš, stari moj Vanče Kljakovića. Metoda kojom se služilo pri pisanju ovog rada jest iščitavanje literature vezane uz pojmove proze u trapericama, određenje kratke priče, spontanog načina izražavanja karakterističnog za mladu, jeans-prozu, literatura vezana uz pojam i značajke stripa i filma te videospot-poetike i on-the-roadovske poetike čime su se istaknuli određeni elementi primjenjivi na naše književne, stripske i filmske predloške

whether or not Tarantino's attitude towards East Asian genres is colonial or on the contrary in keeping with these traditions, this article offers an analysis of the live action fight scenes in Kill Bill Vol. 1 and 2. Much of the information concerning fight choreography has been provided by a how-to-do book on the topic, written by a Chinese American stuntman and fight choreographer, John Kreng, who defines fight choreography as "the art of creating a staged and rehearsed physical conflict that is convincing to the audience for entertainment purposes" (xx). Another fight choreographer, Aaron Anderson (2005), has provided a general overview of fight choreography in order to demonstrate that "violent imagery […] functions as one of the primary cinematic languages for character description and plot progression in modern action films." He describes Tarantino's approach in Kill Bill as one of "playful borrowing," Tarantino having designed the fight scenes, largely by himself if one is to believe David Carradine, as "multi-layered homages to other films." 2 It is this connection between fight choreography and film genre, in other words between the representation of the circulation of bodies in the film and, on the metafictional level, the circulation of references to national genres and specific movies, analyzed at length by Philippe Ortoli in his groundbreaking book (230), that will be the main focus in what follows. Clearly, the fight scenes in Kill Bill represent feats both for the Bride-in terms of the valor and number of her opponent(s) and the length of the fights-and for the cast and crew who have choreographed fights that are challenging in terms of space-fights occur in closed spaces like Vernita's house [KB1 5:45], Budd's trailer [KB2 71:39] and the Bride's hotel room [KB2 106:19]time-the twenty-minute

There is some kind of joy in the unexpected. The feeling that the next thing could be the block that will build our mind. And the thought of having millions of minds like that is the trait of an idealist – a person that is dispossessed and belongs to nowhere except in the map of a similar mind. The way that those minds are connected seeks to create a language that is understandable to communities that cherish distinctiveness that often reviews their realities.

This case study uses a sociocultural theoretical perspective to examine how two Korean middle-school EFL teachers nurtured participatory affordances for their students through classroom dis- course. We conducted a triangulated analysis of video-recorded classroom discourse, observational notes and teacher interviews. Our findings show how the teachers’ instructional stances, namely orientations to teaching, were linked to their use of materials and their interactional practices. While Ms. Yoon’s instructional stance was undergirded by a focus on grammatical accuracy, Ms. Jin’s stance was student-centred, driven by her desire to make English- language learning meaningful. The teachers’ instructional stances, in turn, fundamentally shaped their discursive strategies, their uses of L2 materials, and the learning opportunities these produced for students. Using decontextualised examples, Ms. Yoon relied on a rapid-paced Initiation-Response-Evaluation (IRE) pattern, posi- tioning students as knowledge-receivers. By contrast, Ms. Jin enacted more dialogic interaction using meaningful intertextual links and playful talk, which resulted in students’ active participation, evidenced by their initiation of topics and extended answers. Our study contributes to nascent classroom-based research on L2 material use by suggesting two additional areas for research: the link between teacher instructional stance and L2 material use and intertextual links as a mediational tool for learning.

The aim of this paper is to investigate the model of the figure of the hero in the plays of Anton Pavlovich Chekhov. In analyzing the model of the figure of the hero, four of the most significant plays by A. P. Chekhov were analyzed in consultation with the literature on the poetics of 20th century drama in order to gain a clearer understanding of how the dramatic world of characters was constructed. Specifically, the focus is on four dramas in four acts: "Three Sisters", "Ivanov", "Seagull" and "Uncle Vanya". For the sake of placing love in the key context of this work, the subject of research is not the drama "Cherry." The paper is entitled thesis on the functioning and construction of characters in dramas based on the principle of irony, and thus sets the goal of examining and proving the title thesis. In doing so, it is very interesting to deal with such a model of hero placed in dramatic situations from the perspective of A. P. ...

關鍵字：交互文本，建築設計課程，環境文本 摘 要 由包浩斯傳統而發展的現代主義建築教育，儘管企圖訓練學生抽象思考與實踐的能力，但學生往往偏重於 幾何形體的操作、忽略抽象思考實踐背後的思考脈絡，造成寰宇主義的建築形式，並缺少地域的色彩。自 1964 年 Architecture Without Architects 的展覽以降，Christopher Alexander 的建築模式語彙的理論與 Kenneth Frampton 的批判性地域主義，均顯示一種對於現代主義的批判，企圖透過「地域」的觀點來介入建築設計的思 考與操作，與環境、文化的 「交互文本」 (contextuality)則成為設計概念發展的重要依據。故 「交互文本」 (contextuality) 為吾人在大三設計教學上主要教學操作方式。 為達到交互文本的轉化與實踐，在程序上，學生的設計操作需同時結合研究與設計兩個面向，分別透過觀 察、分析、實驗、轉化、操作、檢視等過程，觀察與分析為研究調查的面向，實驗、轉化、操作為實驗性設計 操作，最後之檢視則是試圖檢驗研究與設計、概念與發展的關連性。吾人試圖在這樣的操作過程中，讓同學建 立設計操作的思考脈絡時，也試圖讓同學與設計之環境與議題產生對話關係，進而互為彼此之脈絡與內容，以 讓同學發展個人之設計操作習慣與風格。 ABSTRACT Architectural education derived from Bauhaus had strongly concerned with societies and environments. However, after certain developments for several decades, students" designs usually stress more on geometrical operation of forms, ignoring thinking contexts behinds abstract consideration and practices. It resulted in architectural forms of universalism lacking regional characteristics. Since the exhibition "Architecture Without Architects" in 1964 took place, Christopher Alexander"s A Pattern Language: Towns, Buildings, Construction and Kenneth Frampton"s argument of critical regionalism came along in similar tunes. They all revealed their critiques of modern architecture, and they attempted using the idea of "region" to interweave thinking and operation of architectural design. The intertextuality of environment and culture have become important sources of development of design concepts. Therefore, "intertextuality" has turned to be my key approach while teaching architectural design in the third year for undergraduate students. For the transformation and practice of intertextuality of architectural design, students" design processes need to combine research and design aspects with procedures of observation, analysis, experiments, transformation and re-examination. These approaches can assess the interrelationship between design, concept and development. In these design procedures, I tried to lead students" projects, while they establishing their thinking contexts of design, to communicate with the environments and themes. It might furthermore help students to develop their own design approaches and styles.

Distinguishing the Concepts of Figure, Motif and Phrase in Music Education

The terms of elements of musical forms are unavoidable in general and professional music teaching. They contain various historical contents and meanings and it is necessary to clearly distinguish them in educational process. That would improve music understanding and bonding of teaching contents of all school music subjects. A form in art is identified from two aspects: aesthetical and compositional-technical, both of which have to be taken into account when defining the terms of elements of musical forms. Likewise, analytical procedure is always connected to the aesthetic approach.
In this paper, the author will attempt to differentiate and define the terms of figure, motive and phrase in view of the composition technique procedures of historical periods in which they were present. The contents of these terms are defined through basic music components, which then enable understanding and interpretation of different meanings. The attempt is to point out the important difference between these elements in relation to the organisation of meter, observed through different metric levels – subdivisions of beat, beat, measure and measure group. The figure is applied only to two levels of metric organisation, to subdivisions of the beat related to an accent or to the duration of a single beat. The figures can be grouped diversely, unrelated to the emphasis of the beats in a measure. The motive can have two or more metric levels, but only one main metric accent on the measure level. The phrase contains at least a double presentation of the measure metric scheme which is necessary to establish the sense of meter. Such defined concepts are then implemented to corresponding situations in other periods.
Key words: elements of musical forms, figure, motive, phrase, meter.

Desde la publicación del primer vídeo de Destripando la historia en YouTube, en febrero de 2017, los creadores de la colección, Álvaro Pascual y Rodrigo Septién (más conocidos como "Pascu y Rodri"), han logrado que sus vídeos superen los 42 millones de reproducciones en total. Con un dibujo en apariencia sencillo, una música pegadiza y unas letras en clave de humor, los vídeos han conseguido viralizarse en poco tiempo y generar un "universo" que va más allá del propio contenido de las canciones, desde emisiones en directo hasta la publicación de un libro. En este trabajo pretendemos analizar de forma breve los factores que interfieren en el éxito de Destripando la historia mediante el estudio del patrón de los propios vídeos (receptor, música, imagen, etc.) y de las plataformas de difusión empleadas con el fin de establecer el grado en que la presencia de intertextos y la transgresión lograda gracias al uso de elementos inesperados interfieren en la viralidad de dichos vídeos. 

The first Destripando la historia video was posted in YouTube in February 2017. Since then, its creators, Álvaro Pascual and Rodrigo Septién (best known as "Pascu y Rodri"), have seen how their videos exceeded the 42 million viewings in all. Apparently simple drawings, catchy music and funny lyrics seem to collude in these videos, which have gone viral in a short period of time, generating a "universe" that goes beyond the songs' contents, from live broadcasting to the publication of a book. In this paper we aim to briefly analyse the main factors that interfere in the Destripando la historia success; this will be achieved by studying the videos pattern (the target audience, music, picture, etc.) and the broadcasting platforms. The main objective is to establish the extent to which the intertextuality and the use of unexpected elements that generate rule-breaking interfere with those videos' virality.

Women's Studies (2018-2020) Semester-1 COR2: Gender and Intersectionalities Assessment-1 Acknowledgment Firstly, I would like to thank my family for encouraging me to take up this course, and also my teachers Prof. Sowjanya Tamalapakula and Prof. Vindhya Undurti who have put efforts of growing my interest in this course of Women's Studies. I would also like to thank my friends who have supported me and helped me all throughout the assignment. Thanking You, Sathi Mazumder. " Zindagi kya hai, Anaasir me zahroor-e-tarteeb, Maut kya hai, Inhi azaa ka pareshaan hona. "

The article presents the results of the comparative analysis of conceptual to Ukrainian mentality concepts to corresponding English ones that have historically formed. The essence of the study is to identify the common and distinctive mentality features reflected in the native languages. The research base of the study is formed by the lexical units "country", "state", "citizen",  "married couple", "work" and "homeland" with their correspondences in the opposite language. Lexical units of Ukraine and Great Britain anthems are also subjected to the comparative analysis.
Key words: mentality, ideology, concept, lexical unit.

L'année 1957 est en France l'occasion de commémorer un Baudelaire récemment réhabilité et définitivement entré dans le canon littéraire. Ce centenaire des Fleurs du Mal est cependant aussi l'occasion, pour certains poètes et écrivains, de prendre leurs distances avec une oeuvre encore souvent associée à ce que le romantisme noir a de diabolique ainsi qu'au spleen, au pessimisme, à la misanthropie et au désengagement. Le compagnonnage communiste, le surréalisme tardif mais aussi les doctrines poétiques élaborées par certains cercles comme l'Ecole de Rochefort conduisent ceux qui se chargent de commémorer le grand poète à produire des éloges ambivalents, qui sont autant d'arts poétiques antibaudelairiens. Adamov trouve dans Les Fleurs du Mal « des choses qui [le] gênent bien » ; Aragon affirme qu'il y a des années où il ne peut pas lire Baudelaire sans révolte et s'interroge, après d'autres, sur l'idéal baudelairien ; Guillevic offre au poète les fruits modestes d'un jardin tout terrestre et dont les fleurs du mal ont été bannies. Cette communication vise à mettre en évidence une lecture d'époque exprimant un inconfort collectif à l'égard d'une esthétique encore considérée de manière monolithique. La redécouverte du Spleen de Paris, pendant éthique de l'expérience esthétique des Fleurs du Mal, ne progresse en effet que lentement. Il s'agira d'analyser les discours et articles de la commémoration à la lumière de trois critères. Nous nous interrogerons d'abord sur l'hybridation du discours critique et du discours commémoratif, qui relèvent de logiques parfois contradictoires. Nous nous intéresserons ensuite à la représentation de Baudelaire comme l'autre de la poésie moderne, avant de nous arrêter sur les tentatives d'adaptation, de correction et de dévoiement de l'esthétique baudelairienne par des poètes qui aimeraient pouvoir l'aimer.

Ganga flows parallel to the city of Varanasi, almost a character of the film that is about love and desire, that know how to flow, much like the river, breaking the boundaries of caste, class and societal constructs. It then cannot be a coincidence that there are two scene of the Allahabad Sangam, where three rivers, Ganga, Yamuna, and the silent (silenced?) Saraswati intersect, become one, and then continue their separate journeys. The film is a Sangam too, of the three stories, that intersect, become one momentarily, and then move away, but not before leaving a trail of questions behind.

There is another level of intersection that carries the soul, the silences, and the voices of the voiceless in the film. It is the intersection of the various poets that enter into the lives of the characters and become one with them. Kabir’s dohas, couplets, turn into songs that speak of the unjust marginalisation of Deepak, a young engineering student belonging to the Dom community, a schedule caste community, who is in love with Shalu, a young college student who belongs to the Gupta community, an upper caste rigid faction of society that will never approve of such a love. However, beyond the shackles of caste politics, Deepak and Shalu discover love through the poems of Dushyant Kumar and Nida Fazli. The other story belongs to Devi, whose name, a symbol of convention and that of desire, is a victim of a society that cannot let a woman explore her body and its many desires. Belonging to a Brahmin community, her father is a Pandit at one of the ghats of Banaras, she is being blackmailed by a police man who “caught” her having sex in a hotel room with a student at the institute where she taught computers.  Then there is the story of Devi’s father, a harassed man who must arrange for 3 lakh rupees or his daughter will soon be on YouTube, with the body and its desires on exhibition.

The film begins in Varanasi and ends in Allahabad, with Deepak and Devi moving away from the city that turned their dreams and desires as dirty as the river that flows parallel to it. Masaan explores the caste and gender politics that burdens the lives of those living in the still conservative smaller towns of India. How well integrated is caste in our lives? How much do we understand its seepage in our day to day lives? What is it about the small towns that make up break away from the very roots that were supposed to nurture us? What kind of violence do small towns inflict on the aspirations of those inhabiting it? For Deepak and for Devi, it isn’t important where they arrive, what matters more is that they leave the town that won’t let them breathe.

And in the middle of this suffocating river town, is the window that lives in a completely insignificant wall of the railway ticket counter where Devi goes to work after she’s fired from her job at the computer institute. A tribute, to Vinod Kumar Shukla’s magic realist novel title Deewar Mein Ek Khidki Rehti Thi, is yet another intersecting story of a man who is a clerk with the railways, who befriends Devi and becomes the lone window through which she sees the other side of her life, beyond the clutches of this city, where she can be unknown, where her caste and her past will not haunt her the way it does here.

I want to explore these polyphonic voices of the various writers and poets and the roles they play in movie as the voice of the marginalized. I would be exploring the city as an oppressor, and the city as a redeemer, the city in all its glory and in all its ugliness as the river that doesn’t stop flowing. And I would be exploring the oppressive nature of caste and gender through these poems, and stories that constitute them. Can love be the intersecting surface for all these histories, all these stories, all these political isms? I would be using theories of Julia Kristeva and Mikhail Bakhtin in understanding and reading of the film. Can the river be seen as the carnivalesque discourse that Bakhtin was talking about? Through this paper, I will be reading closely the societal structures such as caste and gender that come in the way of the desire that is love, body, curiosity, and aspiration. I will also be attempting to translate the various the tree songs in the film that expand on Kabir’s ideas on society and the human psyche. And how they add to the complex layers of the film and bring in another element of intertexuality through rewriting and recreating Kabir.

Sažetak U radu se obrađuje tematika trivijalnosti i intertekstualnosti na primjeru romana Dubravke Ugrešić, Štefica Cvek u raljama života. Elementi su trivijalnoga najviše vidljivi u Štefičinim ljubavnim "zgodama", kao i kroz likove koji se pojavljuju u romanu. Kao primjer spoja visoke i trivijalne književnosti, u samom je romanu vidljiva izrazita intertekstualnost koja je posebice naglašena na razini samoga lika, kao i kroz dizajne različitih naslovnica romana čija je analiza iznesena u radu. Ključne riječi: Dubravka Ugrešić, Štefica Cvek u raljama života, trivijalnost, intertekstualnost. Pod pojmom se trivijalne književnosti podrazumijevaju djela koja, napisana po određenoj šabloni, služe zabavi, jeftinomu načinu zadovoljenja čitateljskih afiniteta te su namijenjena široj publici. Kako autorica Kolanović (2006: 12) ističe, riječ je o tzv. "fast foodu" književne industrije, ljubićima i krimićima dostupnima danas na svakom kiosku. To su djela koja se prodaju po pristupačnim cijenama te svojim naslovnicama privlače pozornost čitatelja. Roman je Štefica Cvek u raljama života specifičan spoj trivijalne i visoke književnosti. Solar (1995: 103-111) naglašava kako ljudi žele čitati ono što nisu, ali ono što bi željeli biti. Naime, svakodnevni se život često povezuje s trivijalnom književnošću. Činjenica je to koja je samo djelomice točna jer se u trivijalnim romanima ne opisuje svakodnevica, nego se kroz prezentaciju svakodnevnih likova percipiraju naše želje, one neostvarive ili teško dostižne, ali i frustracije. Tipičan lik trivijalnoga romana mrzi dosadu i teži za junaštvom, bilo u rasvjetljavanju kriminalnoga čina ili u postizanju idealnoga braka i zasluženoga bogatstva pa se tako trivijalna književnost može smatrati nekom vrstom utopije, čemu u nekim segmentima Dubravka Ugrešić u svom romanu i podliježe. Prvenstveno je to vidljivo u samom odabiru

The following analysis of the live action fight scenes in Kill Bill attempts to show that they play an integral part in terms of narrative, dramatic and metafictional intent, and ultimately to assess to what extent the treatment of profilmic and filmographic movement, and the lack thereof, reflect the generic and cultural hybridity of two films that mix “American” and “East Asian” genres.

Izvori japanske estetike su mnogostruki, no onaj dio estetike koji prednjači kad pomislimo na japansku umjetnost i dizajn uvijek je jednostavnost, poštivanje prirode materijala, funkcionalnost i užitak u minucioznosti izrade.
Ovim radom nastojat ćemo pokazati izvore razvoja takve estetike, i objasniti dva usko povezna pojma, wabi i sabi, izvedena iz budističkih ideala srednjovjekovnog perioda, kad je širenje budizma po Japanu omogućilo ulazak ovih dviju ideja u područje kulture.  Postavši estetske vrijednosti, oni i danas definiraju bit većine tradicionalnih japanskih umjetnosti.
Naravno da se cijela japanska umjetnost nije pod utjecajem budizma, kao što ni sva umjetnost na zapadu nije pod utjecajem kršćanstva; Japan ima bogatu tradiciju blistavih polikromnih drvoreza, pučkog kazališta, u XX. stoljeću pop kulturu pod utjecajem zapada, sjajnu suvremenu umjetničku produkciju, strip koji je prihvaćen kao umjetnička grana istovjetna književnosti… No ne namjeravam se baviti cjelokupnom umjetnošću, budući da su pojmovi wabi i sabi zatvorena cjelina nastala pod utjecajem zen budizma i klasične dvorske kulture razdoblja Heian.
Nakon kratke definicije i povijesti discipline estetike na zapadu, smatrao sam važnim opisati kulturne obrasce koji su wabi i sabi doveli do ulaska u područje ideala. Oni su dovoljno važni da budu opisani malo detaljnije, kako bi relativno neupućenom čitatelju pokušao pružiti malo cjelovitiju sliku; od napomena o japanskom jeziku i osnovnim odrednicama japanske tradicionalne kulture po Keeneu, preko nastanka i širenja budizma Azijom, do opisa čajne ceremonije i njezinog utjecaja na japansko društvo u trenutku nastanka pa do modernog doba. Wabi-sabi je japanski pogled na stvarnost koji slavi nesavršenost, i vidi ljepotu naizgled nedovršenog. Ona je bitna odlika japanskog mentaliteta, iako često Japancima nije lako definirati što je to tako wabi ili sabi u određenom predmetu i djelu.
Treći dio sadrži prvu upotrebu pojmova wabi i sabi u klasicima japanske književnosti, pojašnjenja etimologije i način na koji se percepcija pojmova wabi i sabi mijenjala, te daje osnovne opise karakteristika ovih efemernih estetskih ideala. Konačno, formalnim karakteristikama može se opisati fizički dio izrade predmeta.
U četvrtom dijelu raspravit ću o određenim razlikama zapadnjačke filozofije i istočnjačke religijsko – filozofske misli, probati dati ključ za razumijevanje razlike i pokušati pomiriti različita mišljenja pomoću interpretacije zen budizma. Zen izbjegava isprazno intelektualiziranje i nastoji izravno pokazati ljepotu koja postoji, razvija se i rasprskava poput kore dozrelog ploda, u pravom trenutku, budući da krivi niti ne postoji. Iako su o zenu napisane mnoge knjige, bit zena je objašnjiva u nekoliko riječi: kontrola uma, prepoznavanje stvarnosti, te razvoj mentalnih i fizičkih osobina koje trebamo za život bez iluzije oko nas. D. T. Suzuki piše da tomu svi težimo, i to osjećamo usprkos načinu i tempu življenja. Živjeti wabizumai (život pustinjaka) znači osjećati puls prirode i time postati zahvalan za svoj unutarnji život, otkriti kvalitete svoje nutrine, ostati tiho zadovoljan s mističnom kontemplacijom Prirode i ono najvažnije, osjećati se ugodno u svijetu.

This article explores the methodological value of post-structuralism for sociocultural theory. The Peircean notion of knowledge serves as a rationale for incorporating a post-structuralist perspective of discourse into Vygotsky-inspired sociocultural approach to conceptual development. Central to this incorporation is an analytic frame of reference devised to examine how knowledge construction is mediated through the use of language and other semiotic tools. The article provides an interpretive analysis of mother–child interaction in the reading of dual-language picture books, interwoven with a post-structuralist exposition of knowledge, power and discourse. It is suggestive of what sociocultural theory would need to consider in terms of power relations when theorising the role of semiotic mediation in transforming the human mind and activity.

Inf. V is perhaps the most commented and morbidly quoted canto of Dante's "Commedia". After centuries-old vagaries of the literary criticism about the figure and the account of Francesca, recent studies, more philologically oriented, have suggested some plausible models here operating, such as those of Ovid's "Heroides" and of the "Roman de Tristan". This paper aims at re-opening once again the "Francesca file", in order to suggest another possible model, much more obvious actually, whose influence on Dante's text can't stop making a fertile appearance.