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The paper is focused on Bastogi, a housing complex which started as temporary housing for university students and travellers but that become a permanent reality for many individuals experiencing severe housing deprivation. It is highlighted the looping effect, in referring to how classifications such as “squatter” and “people in housing emergency” shape individuals’ perceptions of themselves, or how they can also perpetuate the victim-blaming ideology. The temporary housing assistance policies in Rome have chronicled housing precariousness for a significant portion of the urban population, and a place like Bastogi is a product of these urban policies. Like a heterotopia of marginality, Bastogi is a ‘counter-space’, whose existence denounces the segregating logics that created it. The paper also describes the constant struggle of some people in housing crisis to distance themselves from the imposed labels, and how they navigate this social, moral, and political distance from institutions and the rest of the city.

RESEARCH OBJECTIVE: The article discusses the interplay between language, cognition and culture from a cognitive diachronic perspective, focusing on the relation between religion and metaphorical thought. It investigates the role of the conceptual metaphor UNDERSTANDING IS LIGHT in religious discourse, using the example of The Revelations of Divine Love, written by Julian of Norwich, a late medieval anchoress. THE RESEARCH PROBLEM AND METODS: The paper draws on the Extended Conceptual Metaphor approach, Zoltán Kövecses’s elaboration of the Conceptual Metaphor Theory (CMT). The universalist bias of CMT means that the theory tends to ignore the sociocultural context of historical data, prioritising the influence of universal human embodiment on metaphorical thought. Using Kövecses’s approach, the paper shows how the gap in CMT methodology may be bridged to yield more reliable results. THE PROCESS OF ARGUMENTATION: The present study connects Kövecses’s approach to Cognitive Linguistic research into sociocultural situatedness. To exemplify the problem, the analysis examines the cognitive‑cultural underpinnings of Julian’s use of the metaphor UNDERSTAND‑ ING IS LIGHT. RESEARCH RESULTS: The analysis shows that the metaphorical conceptualisation pattern may well derive from Julian’s sociocultural situatedness. The paper indicates that the anchoress’s metaphorical thought should be seen as embedded in the late medieval sociocultural context, rather than being considered solely in terms of universal aspects of embodiment. CONCLUSIONS, RECOMMENDATIONS AND THE APPLICATIVE VALUE OF RESEARCH: The study concludes that the idea of sociocultural situatedness may be pivotal in the analyses of historical texts. It seems important to incorporate this idea into Kövecses’s approach, which may inform the methodology of cognitive diachronic research into metaphorical conceptualisations. Furthermore, the results may be applied to teaching students how to approach historical texts, helping them gain a better understanding of the relation between metaphorical thought and culture.

Starting from the mid-2010s, Japan has seen a rise in media works (such as novels, comics, animation, and TV dramas) discussing the asexual and aromantic identities with an ever-increasing number of people connecting with those labels and, some of them actively associating with the LGBTQ+ community. The pull towards an asexual and aromantic society has also been linked to the lower marriage and birth rate by some experts, wondering whether the identification with such labels could be caused by societal shifts (busier work schedules, less spending power, financial insecurities). In this context, the two works this paper analyses, I Want to Be the Wall (Watashi wa kabe ni naritai, 2019-2023) by Shirono Honami and Is Love the Answer? (Kimi no sekai ni koi wa nai, 2020) by Isaki Uta link the societal pressure to conform to an allosexual and heterosexual way of life with the feeling of disconnect from romantic and platonic relationships with peers.

“Archive” comes from the Ancient Greek ἀρχεῖον, “house of the ruler”: inside, we find what corresponds to the normative framework; outside, everything that dissents and is not conform. This occurs for the heteropatriarchal archive of intimate partner violence, as it is explored by Carmen Maria Machado in In the Dream House (2019), and for the archive of folklore, ruled by each (re-)teller’s framework. What if we regain the oral dimension of the tale tradition in a diffractive perspective? What if the reader entangles with the text, co-creating a new meaning? In this paper, I propose to shed a light on the possibilities of diffracting the folkloric archive, to shift the archival-ruled narratives in the direction of self-representation and empoderamiento for the subjectivities expelled from the archival narratives. Two are the paths proposed: firstly, situated literary retellings, with a focus on Machado’s memoir; and secondly, wild pedagogy and slow scholarship methodologies and practices, enabling the experience of the reader to entangle with and diffract the tales’ narratives.

This paper reports a methodological exploration combining image network analysis and standardized practice analysis on social media data. Through applying the open source software Memespector to access the Clarifai API, the potential of an easy-at-hand image tagging tool as an instrument to manage larger data corpora is explored. Using the example of the German-speaking Twitter hashtag #systemrelevant, we relate image clusters to the results of standardized practice analysis of posts that contain images. The proposed method is intended for research that attempts to carve out the co-constituting of public discourse in social media by different groups of actors. The approach systematically differentiates the contributions of societal groups such as journalism, civil society, or private individuals, and the embedding of their tweets in selected anchoring practices and further modalities of participation. Altogether, the multistep analytical process offers a possible approach to process larger image corpora, while maintaining a sensitivity for the practice-theoretical demand of (re)contextualizing image use.

In visual communication research there are already several methodological approaches for creating image types. These approaches work with creating typologies based on the representational features of visuals / image motifs, reducing the complexity of extensive visual material. However, we argue that in everyday visual communication, the meaning of images depends largely on the practices in which they are embedded and not on the motif. This paper’s aim is to propose a methodological design for an image type analysis that considers both the representational and the artifact-related component of images, following a texto-material understanding of images. We illustrate the procedure step by step through an empirical study that explores visuals in couple relationships in Switzerland. The method enables a qualitative analysis of a large number of visuals that combines a) the creation of image types and b) a dynamic approach to in-depth visual analysis. Image types resulting from this procedure are more heterogeneous in motifs compared to previous traditions of image type analysis but allow for considering both the visual and the material dimensions of visuals, e.g., practices in which images are embedded. The approach builds on existing methods and contributes to the advancements of methods within visual communication research.

This paper explores the phenomenon of iconic image clusters and presents a method for analyzing them. It specifically focuses on compiling individual images into extensive image clusters, such as weblogs, photo series, or image galleries. The analytical interest in this topic is based on the assumption that the compilation and presentation of images are independent means of expression and presentation in visual media. Iconic image clusters can emphasize thematic aspects, highlight contrasts, create styles, or provide visual evidence. In other words, iconic image clusters reflect several communicative possibilities that arise from the technical reproducibility of images. Iconic image clusters belong to the subclass of contemporary hypertext / hyperimage phenomena in media theory and are manifestations of the human ability to generate meaning through relations of similarity and difference in communication theory. This article addresses how iconic image clusters can be analyzed validly. It discusses the communicative structure and functioning of such clusters and proposes a procedure for their analysis. The proposed method is illustrated with examples, including a photographic weblog.

Visual elements play an important role within the multimodal nature of social media (Pearce et al., 2020). A growing body of research has focused on the analysis of still and moving images from different social media platforms from various perspectives of communication and media studies (Hautea, Parks, Takahashi, & Zeng, 2021; Li & Xie, 2020; Veum & Undrum, 2018). Although the aforementioned studies describe visual data collection, their principal focus does not rely on this collection, but on data analysis. Little attention has been paid to the challenges of collecting visual datasets (Highfield & Leaver, 2016). In this paper, I propose a methodological overview of several strategies for collecting large corpora of visual data from image-based social media platforms. Provided with exemplary publications, I review five strategies for collecting visual corpora: hashtag-based, account-based, metadata-based, random sampling, and mixed approach. Lastly, I present a case study with my own mixed approach to the collection of visual data from Instagram. Considering the usage, advantages and limitations of each strategy, the article will contribute to the developing science of social media research. I believe that a literature analysis of visual data collection strategies and a provided case study can help researchers optimize visual data collection from image-based social media.

Exploring medium-to-large datasets of social media imagery can be challenging. This paper describes a digitally-assisted iconology, a hybrid methodology that includes machine learning and data analytics for sorting through medium-sized datasets of images that lack metadata to describe their pictorial content. The method plays to the strengths of current digital technologies. Using machine learning, pictures are first clustered in a preliminary stage based upon basic formal presentational characteristics. Thematic analysis follows this preliminary stage, based upon an expansion of Aby Warburg’s “pre-coined expressive values”, which are frequently found in pictures displaying high levels of user reception. Once clustered via these two separate stages, the researcher can then drill down using familiar forms of visual analysis to explore how similar concepts have been rendered in different ways. The analysis may be augmented by exploring the commentary appended to these pictures, which adds a further level of detail providing insight into end-user interpretations. The approach – including its drawbacks – is demonstrated via a consequential dataset of pictures shared on Twitter in 2015, after a Syrian child was found drowned off the Turkish shore. Derivative imagery based upon the original photographs referenced longstanding iconographic themes.

This paper analyzes two dystopias belonging to different worlds and eras: one from the 20th century, We, by Russian writer E. Zamjatin and the other from the 21st century, Notre vie dans les forêts, by the French M. Darrieussecq. This literary journey of a century allows us to focus on themes dear to the dystopian genre but especially related to the lives of today’s readers, in the spirit of engaged literature. In particular, readers will be prompted to reflect, with the help of some critical insights, primarily on the disasters of the Anthropocene and on the depersonalization experienced by humans in a world that changes too quickly and in which the boundaries between human and nonhuman seem to have been obliterated. Starting from this last element, the article considers a new model of inclusion of the different, the posthuman, through the studies of Rosi Braidotti and Donna Haraway.

The global entertainment world has recently seen an increase in post-apocalyptic products, clearly reflecting a public demand for catastrophe-related narratives. This ‘catastrophilia’ finds a relevant example in the dystopian works by Komatsu Sakyō, one of Japan's most celebrated science fiction authors, beginning with the first novel Nihon chinbotsu (1973). Having become a transmedia product thanks to film, manga, and anime adaptations, the story portrays a fictional version of “The Big One” able to sink the entire Japanese archipelago in an unknown future. What is the reason behind such success? By adopting an interdisciplinary perspective intertwining psychological, philosophical and media studies, this paper examines the popularity achieved by Japan Sinks and its mediascape to unveil the addiction to the apocalyptic narratives that goes beyond the ecotopic purpose of re-establishing a symbiotic contact between humans and the environment. Instead, it results from a pathological desire for violence and death and an atavistic tendency for morbid curiosity.

In the 20th century, it is common to find some rewritings of classical myths set in post-apocalyptic scenarios. The aim of this paper is to propose an innovative research field that combine the study of dystopian literature and myth criticism. The new myth-critical approach considers three social innovations: informatization, which is essential in dystopian literature as well; migration and postcolonial literature, which is linked to the concept of the otherness science fiction thrives on; and finally, consumerism, which leads to eternal technical reproducibility, also presented in the dystopian works, especially in the concept of cloning. A concrete example are the dystopian adaptations of the myth of Antigone: the movie I Cannibali by Liliana Cavani, the epistolary novel In the Country of Last Things by Paul Auster, and the play Antígona Gelada by the portuguese author Armando Nascimento Rosa.

Reflections on the collective traumas that have shaped Japan’s more recent history (primarily the triple disaster of Fukushima) have ignited a new boom in dystopian productions that have achieved an unprecedented success. These narratives explore themes that deal with the erosion of the ecosystem in which humans live – but also of the human body itself. However, it is not only human beings who play a part in some of these dystopias: the city of Tokyo also plays a key role within them. The purpose of this paper is to explore this peculiar role of Tokyo in three selected case studies: namely, Adou (2021-) by Amano Jaku, Soundtrack (2003) by Furukawa Hideo, and The Emissary (2013) by Tawada Yōko. Destroyed and rebuilt in multiple media productions over the last seventy years and at the center of psychedelic futuristic visions, Tokyo becomes either a swarming center of human life or an abandoned wasteland, an urban skeleton that stands as a reminder of the impending or preceding catastrophe, forcing the reader to think about the actual future of our urban spaces – and whether it will include us humans or not.

The present paper aims at analyzing two works of contemporary Irish fiction, namely, Notes from a Coma (2005) by Mike McCormack and The Fjord of Killary (2012) by Kevin Barry. I argue that both works not only mirror what Dipesh Chakrabarty calls the ‘global’ and the ‘planetary’, but also reflect the non-human space and time scales that Timothy Morton identifies as one of the properties of hyperobjects. Moreover, the two novels are deeply rooted in the history of Ireland, and especially in the semi-peripheral position occupied by the country within the capitalist world system. The intermingling of various narrative layers together with speculative and realistic tropes conveys the epiphenomenality of our lived experience, characterized by the not-yet predictable consequences of planetary climate crisis and the ever-shifting demands of global capitalism.

This paper investigates the representation of bodies in two contemporary Japanese works, namely Murata Sayaka’s Seimeishiki (生命式 , Life Ceremony, 2013) and Ono Miyuki’s Karada o uru koto (身体を売ること “Selling the Body,” 2020). Both novellas are set in the future and share the trope of the ‘uncanny,’ heightened through the transgression of boundaries thanks to the presence of what I refer to as ‘consumed bodies,’ and female protagonists as an ‘unhinged woman,’ the anti-heroine interpreted as a feminist icon recently emblazoned in social networks. In Life Ceremony, the Japanese government has approved anthropophagy as a social practice; in “Selling the Body,” healthy flesh bodies are sold to survive in polluted environments and replaced by robotic ones. Present anxieties concerning the control over bodies and their reproductivity, as well as the fear of objectification are expressed through the practices of cannibalism and cyberization. Consequently, readers are forced to rethink the human nature and ethics in a posthuman dialectic within a hyper-capitalistic society.

The territory of Lima, Peru, is the result of thousands of years of history of prehispanic cultures. A strategic management of ecological and social resources disrupted by colonization and modernity. Nowadays, the South American metropolis struggles with inefficient public policy enforcement to manage its territory, and close to 256 archaeological sites (called by the quechua word huacas) are located in peri-urban areas of the valleys, most of them neglected by local governments, lacking a proper assessment of their significance, and characterization of their context. The landscape of the southeastern side of San Juan de Lurigancho is a testimony of the past relationship between the agricultural economy of the lower Rimac Valley; and hunting-gathering activities and ranching in the surrounding mountains of the present peri-urban interface of Lima. Here, the participation of grassroots organizations, in the conservation of ancient monuments and their landscape, has been crucial for over a decade. The objective of this paper is to trace a biography of the landscape in the south east of San Juan de Lurigancho, and to highlight the role of community involvement in its present conservation. The results show the need to include this type of community action into urban planning and to empower grassroots organizations, to bridge the gap between current policy making and its implementation in the conservation of prehispanic landscapes in urban interstices.

The paper investigates the relationship between liminal, interstitial spaces with displacement and makeshift inhabitation from people on the move across the outskirts of Paris’ municipality. By providing the example of the camps settled along the interstices of the Boulevard Phériphérique, we aim to shed light on the paradoxically relational nature of voids and liminalities, testified by the multifaceted urban fragments that they generate, as well as the resistive strategies employed by marginalised populations to navigate the exclusive mechanisms of neoliberal power and negligence. The case of Delphine Seyrig serves to highlight the tensions that emerge from a space in which dynamics of exclusion and inclusion converge, where resistance and vulnerability, “us and them”, coexist, yet are made visibly distant. By framing the interstitial opacity that characterizes both the materiality of liminal lands and the condition of the migrant, we have called them “spaces of holding”, where people on the move’s inhabitation remains a perpetual negotiation of suspended existence. Based on participant observation in Greater Paris between September 2021 and August 2022, we draw on interstices’ ambivalent nature of in-between, no-longer-there-but-not-there-yet empty spaces that allow the ongoing reproducibility of a variety of forms, functions, and identities. Despite taking a distance from considering such spaces as “solutions” or countermeasures of reception, we look at these fragments as topographical constructs for scrutinizing spatial tensions and conceptual proposals and building a renewed politics of visibility in architecture and urban planning.

Macro-paintings have become a popular tool used by various actors to uplift marginalized communities in cities of the global South by transforming their physical environments. These actors operate under the assumption that improving the material conditions of these communities will lead to their overall transformation. As a result, communities serve as a focal point in this process, upon which macro-paintings are intended to have a significant impact. In this brief paper, we aim to illuminate the phenomenon of macro-painting by considering them within and beyond the context of a single community. In doing so, we shift our focus away from the traditional interpretations of paintings and instead emphasize their capacity to redefine socio-material boundaries on various scales within the city. Drawing on interviews with artists and actors from different Latin American countries, we analyze the boundaries across different scales of macro-paintings—individual houses, neighborhoods/districts, and the city. Our argument centers on the idea that macro-paintings create a unique ecology, influencing meanings, material aspects, and lives throughout the entire city. This perspective holds broader significance for urban studies, highlighting that seemingly invisible, ostensibly uniform urban surfaces are not passive but exert wider spatial effects. Consequently, scholars must acknowledge and investigate these outcomes.

Este trabajo aborda la cuestión del carácter utópico del libro, de la acción y del proyecto político y cultural de Alfonso X. Para tratar de establecer si cabe considerar que las obras del Rey Sabio pueden considerarse utópicas, se analizarán tres aspectos: la propia realización de los códices, como plasmación de un proyecto de reforma; el carácter inconcluso de este proyecto que parece adscribir lo utópico a lo irrealizable; el desplazamiento de la utopía de la obra en sí a su hacedor, el rey. This paper addresses the question of the utopian character of the book, of Alfonso X’s action and of his political and cultural project. To try to establish whether the works of this king can be considered utopian, three aspects will be analysed: the actual creation of the codices, as the embodiment of a reform project; the unfinished nature of this project, which seems to ascribe the utopian to the unrealisable; and the shift of the utopia from the work itself to its maker, the king.

En tres reescrituras de algunos pasajes de la Collatio Alexandri cum Dindimo per litteras facta, contenidas respectivamente en el Libro de los ejemplos por a.b.c., el Cancionero d’Herberay des Essarts y el Libro de las maravillas del mundo de Mandevilla, se presenta un modelo de sociedad que, por la perfección de sus miembros o por su organización ideal, se ha emparentado con la utopía. Este trabajo cuestiona el que la simple descripción de una sociedad ideal baste para considerar un texto como utópico y plantea la importancia de tener en cuenta igualmente sus aspectos formales, así como también los contextos en los que dicho texto se inserta y el horizonte de expectativas de sus destinatarios. Estos parámetros contribuyen a aprehender hasta qué punto un texto, amén de describir una sociedad ideal, la presenta como un espejo invertido de la sociedad receptora, dotando así a la descripción del componente crítico, fundamental en todo texto utópico. In three rewritings of some passages from the Collatio Alexandri cum Dindimo per litteras facta, contained in the Libro de los ejemplos por a.b.c., the Cancionero d’Herberay des Essarts and Mandeville’s Libro de las maravillas del mundo, a model of society is presented which, because of the perfection of its members or its ideal organisation, has been related to utopia. This paper questions whether the mere description of an ideal society is sufficient to consider a text as utopian, and raises the importance of taking into account its formal aspects, as well as the context in which the text is inserted and the horizon of expectations of its recipients. These parameters contribute to understanding the extent to which a text, in addition to describing an ideal society, presents it as an inverted mirror of the readers’ society, thus endowing the description with the critical component that is fundamental to any utopian text.

RESEARCH OBJECTIVE: The main aim is to show the narrative of a woman who experienced critical events in her personal life. THE RESEARCH PROBLEMS AND METHODS: 1. How does the narrator describe critical events based on her family experience? 2. What meaning does she ascribe to the events experienced in retrospect? The presented research is situated in the interpretative research tradition. A descriptive‑theoretical type of case study was used. Empirical data was collected using Fritz Schütze’s narrative interview technique. THE PROCESS OF ARGUMENTATION: The interview began by presenting the narrator’s life story from her childhood to the present day. Attention was paid to her understanding of herself and her life, her relationship with her parents, and critical events that occurred in her family. The empirical material was then interpreted based on Schütze’s process structures, which revealed her current life course, critical events in the family and landmark events in the narrator’s individual biography. RESEARCH RESULTS: The interpretation of the empirical material showed the narrator in the process of change, internal metamorphoses. It revealed poor intra‑family relations, which became the cause of illness, lack of self‑acceptance, and depressive and anxious states. The therapy that she underwent, satisfying professional work and mutual feelings of love allowed the narrator to overcome her limitations, weaknesses and take a critical look at the family relationships that were the cause of her pain and suffering. CONCLUSIONS, RECOMMENDATIONS AND APPLICABLE VALUE OF RESEARCH: The narrative presented in the paper can become a stimulus for change in people who are currently struggling with family problems, illness or suffering: all those people who experience anxiety and loneliness in the space of family life.