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Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Diversitas Journal is the property of Diversitas Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Vladimir Nabokov’s novel “Camera Obscura” famously ends with the death of its blind protagonist, Bruno Kretschmar, from the hand of Kretschmar’s former mistress, Magda Peters. In the little-known version of the novel’s ending, which the author abandoned in 1931, but nevertheless preserved among his papers, now on hold at the Library of Congress (USA), the blind man fiercely shoots Magda in revenge for her unfaithfulness and cruelty as well as in the hope of regaining his vision after the girl’s demise. This first-time publication of the castoff ending of “Camera Obscura” is preceded with an essay that compares the two versions, along with the last pages of “Laughter in the Dark”, the author’s translation of the novel to English. It also investigates the moral choices and narrative devices Nabokov relied on when choosing the more predictable, but also less brutal finale. Furthermore, the analysis draws parallels between the ending Nabokov chose not to publish and the intriguing scene of Quilty’s murder in “Lolita”, with its motifs of blindness and references to camera obscura as an artist’s tool used for creating an optical illusion. The comparison leads to conclusions about such aspects of Nabokov’s art as his visual poetics, strategies of intertextual concealment, and metaphysical imagination.

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Croma is the property of Revista Croma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When you hear the words "sonnet," "Renaissance," "Western literature," and "love songs," you are hearing the direct influence of Francesco Petrarca (Petrarch) and of his collection of lyric poems that he called "Fragments in the Vernacular" (Rerum vulgarium fragmenta). The Petrarchive is a TEI-based rich-text digital edition of Petrarch's songbook, designed as a tool both to introduce the collection—a collection that continues to influence modern cultures in many languages—and to give advanced users access to Petrarch's "original" text and an extensive "material" commentary for each poem. This article describes the Petrarchive, which includes edited and diplomatic transcriptions of Petrarch's songbook; visual maps illustrating Petrarch's design, layout, and visual poetics; and multi-layered commentary addressing prosodic, historic, textual, and thematic issues along with an English translation of the poems. [ABSTRACT FROM AUTHOR]

Copyright of Revista CESUMAR: Ciências Humanas e Sociais Aplicadas is the property of Revista Cesumar - Ciencias Humanas e Sociais Aplicadas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Gama is the property of Revista Gama and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

My exploration of works by the Israel-based artist Dina Shenhav, such as City (2000), Game Over (2001), Dog (2005), End of the Forest (2008), Crystal (2008), and Rest (2008), aspires to develop a critical reading of visual artwork associated with literary texts. This essay suggests a reading of Dina Shenhav's art as an "autobiographical narrative in pictorial terms" that highlights the tensions derived from the interplay between different modes of representation—word and image, poetic and visual—in the past and the present, in Europe and in the Middle East, in German and in Hebrew. Interacting and corresponding with aesthetic theories by Walter Benjamin, as well as with concepts in the fields of art (Dürer, Kiefer) and poetics (Sebald, Yehoshua, Yeshurun), I intend to show how Shenhav shapes a visual poetics of catastrophe in her coming to terms with a private and collective traumatic past that is inseparable from bearing witness to an ongoing political present. [ABSTRACT FROM AUTHOR]

Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Innovative contemporary poet Kathleen Fraser experiments with language and form in her poems, subverting conventional poetic style to give voice to muted women, exploring new ways of illustrating female experience. Fraser resists received poetic forms, as her poems are products of erasure and revision and possess a female self-empowerment as a result of reconstructing the text. Innovative techniques that stand out in her work are the use of palimpsest and visual poetics. Fraser's use of palimpsest is a subversive technique that bears traces of her predecessors' writings and makes audible the "muted" voices from the past. In addition, Fraser's innovative use of visual techniques illustrate her claim that man-made forms of writing and representations of women need to be re-"shaped". Her use of the visual aspect of poetry and palimpsest enable her to give voice to muted women and subvert the patriarchal construction of the female. [ABSTRACT FROM AUTHOR]

The text text discusses the aesthetic potential of one of the first post-Soviet comics, Bylinnaya Rus' (The Russia of the Epics, 1992) created by Viktor Agafonov. The comic saga, which is now valued as a most original example of rare post-Soviet comic book art, presents the adventures Russian folk hero (bogatyr) Ilya Muromets in a most inspiring and daring aesthetic manner. The composition, colour scheme, fonts, and text presentation of the work demonstrate clear parallels with the tradition of Christian Orthodox iconography, which somewhat complicates their comprehension for the average reader/ viewer. This article offers a double reading of the work, reliant on the one hand on narrative analysis, and on the other (and at the same time) on an iconographic reading: it may be considered as an annotated introduction to a possible iconography of the comic book text. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Croma is the property of Revista Croma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tina Howe presents a broad view of contemporary art through the encounter/shock between spectator and art work in an American museum in the 1980's. The aim of this work is to analyze how this process of rupture occurred and the role of visual poetics as an instrument of rescue and recognition of the art work by the spectator. [ABSTRACT FROM AUTHOR]