Needless to say, the places and creatures he encounters on the way are not exactly human or easily reconcilable with everyday cognitive frames; the multimodality allows comics to make their characters and the narrative spaces feel strange in numerous embodied ways.
- Once Upon a Curse;
- Catalogue Search.
- Auditory, Visual, and Cultural Features.
- Literature – Russian & Eastern European Studies!
- Parkinsons Disease (Oxford American Neurology Library).
Yet, seeing that all comics are made by human authors for human audiences — and that philosophers still remain skeptical towards our possibilities for ever gaining any reliable insight into alien experiences — nothing about them can be entirely nonhuman either. The experimental comics expression and human imagination thus push and mark their limits in tandem.
Excavations into the Medial Substrate.
- Billy Graham: A Biography (Greenwood Biographies);
- Jørgen Bruhn.
- Rook vs. two minor pieces.
- The Intermediality of Narrative Literature Medialities Matter - Ghent University Library!
- Lifes A Cappella!
- Abstracts – Session VI – The Literary in Life.
While both digital and performed literature continue to proliferate in contemporary media ecology, the most traditional and commonplace manifestation of literature, namely the codex printed on paper, can now come into view more clearly — not only medium-specifically but also matter-specifically. Paper continues to be a ubiquitous material in everyday life, extending well beyond literary or even textual purposes.
But the ordinary operations that it allows, such as folding, cutting, tearing, and punching, can also be put to literary use and charged with meaning.
Paper may be the interface between life and the literary. Moreover, paper is transmedial in that it can support for instance literature, visual arts, and photography. Taking a media-archaeological approach, I am going to focus on experimental uses of paper, such as carved or sculpture-like books and pages with holes through them — excavations in a very literal sense.
I study the experience of sculptural practice through the methodology of artistic research Slager To illustrate my empirical research material, I portray the art-making processes through a narrative framework. By making art, I explore the sensory, embodied, material, and located experience of the activity in question.
“Seeing without understanding”
My research material constitutes itself during the practice-led process Candy of artistic research. In this paper, the empirical material conveys a series of events that emerged from making my artwork entitled From Hand to Mouth www. I have written a story of the evolving artwork, and I include parts of it with documentary photographs into my paper. In the narrative, the events are portrayed as situation-specific and context-sensitive, and this allows to examine the traffic between art-making and everyday life. In addition, the literary method I employ in my research seems to be clearly involved in the meaning-making of my sculpture.
In effect, my private experiences are mediated as social and intertwined with cultural processes. I ask how does the constant but often unnoticed traffic between art practice and mundane occur in creative practice and how can this kind of making influence in the societal discourse. The aim of this paper is to discuss new knowledge gained and a new method created by employing experimental, critical typographic practice. This experimental practice aims at challenging the process of habitualisation and habitual thinking about our everyday life, its symbols, design, art, thinking and its news texts.
Texts are conventionally visualised with typographic practice.
News texts portray words and sentences that are sometimes bypassed but which give deeper insight into the society. The visual experience we provide is, ultimately, a very democratic one. The user of our app does not have to be well-educated or familiar with a wide range of scholarship on Nabokov.
MDS: | LibraryThing
Our app could also be a great tool for teaching Lolita to non-academics: it is free to download and exemplifies the creative approach that many students want to take in their learning. In Speak, Memory , he describes how he discovered his condition. The Russian Language of the book Drugie Berega describes the scene and condition in a similar way, only through the lens of the Russian language. When Nabokov was a small child, his parents bought him colored alphabet blocks. Nabokov protested, saying that the colors of the letters were all wrong. His mother was very surprised to hear him say this since she herself had the same condition, and, as it turned out, the letters had the same hue for her as for her son.
Interestingly, Nabokov was sensitive not only to the sound of letters, but also to their shapes. In particular, he generally saw Russian letters representing the same sound but formed differently from their Latin counterparts in duller tones.
Heterographics as a Literary Device
It is also important to note here that Nabokov was very precise about tints and hues of color. For Nabokov, synesthesia was not separate from literature. He even used colors to evaluate literary works. He said that colors were discovered late in Russian literature, and that before Gogol and Pushkin the sky was always blue and the foliage green.
The Intermediality of Narrative Literature: Medialities Matter
It was Gogol who first saw yellow and violet at all. Turgenev was the first Russian writer to notice the effect of broken sunlight and kept all his works in the tint of gray. Our project discovered the colors of the first passage of Lolita , and we suggest that this can even be a prompt for further scholarship, as a means of situating Nabokov in a chromatic history of Russian literature.
- Primary tabs;
- Rework: Change The Way You Work Forever.
- Greek, Indian and Arabic Logic (Handbook of the History of Logic, Volume 1).
- Modern Physics, Fifth Edition?
- Narration in Various Media.
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