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The invented Bruce Onobrakpeya’s Ibiebe alphabet and ideogram (writing system) have not been explored maximally and redesigned as recurring motifs to embellish contemporary fabric. These are artistic codified graphical images that represent the visual translation of myths, legends, ideal concepts, and the philosophies of the Urhobo cultural heritage from Delta State. They are mostly explored in paintings and sculptural pieces for aesthetic and refinement purposes. Whereas, it is pertinent to encourage the integration of the creative potential of indigenous culture as visual concepts into contemporary works, since art is a potent medium for cultural dialogue. Therefore, this paper seeks to redesign the versatility and ingenuity embedded in Bruce Onobrakpeya’s formation as a recurring motif for fabric embellishment. It is essentially to provoke creativity, the development of knowledge, skills, in-studio experimentation/exploration, and the creation of new design possibilities with a diverse visual relationship. The Aesthetic theory propounded by Alexander Gottlieb Baumgarten (1714-1762) and the Modern Creativity theory by Kanematsu, H. and Barry, D. M. (2016) were adopted. The approach is exploratory and descriptive and relies on literal information. It will serve as an encyclopedia of redesigned motifs that cut across visual history.

This article employs the semantic and motivational aspects to study three Russian dialect words, namely Pskov and Tver Regions посви́рывать ‘to be picky, to disdain’, Kaluga Region ко́бзовать ‘to disdain’, Don, Volgograd, Ryazan, and Tambov Regions скабе́жливый ‘squeamish’. The choice to refer specifically to these linguistic facts is determined by the fact that some of the lexical units presented have not been previously discussed in literature, while, in the author’s opinion, some have controversial etymological solutions. The author states that the word посви́рывать has the root -вир-. Here, the idea of turning is recognised as a motivationally significant one since it reflects popular observations of the behaviour of a person who rejects something. Thus, the axiological assessment of squeamish behavior is fixed in the word’s inner form. The author connects the word ко́бзовать with кобызиться ‘to act arrogantly; to be stubborn, to be obstinate’, where быз indicates ‘a whiny, capricious child’. An assumption is made that a number of lexical units, such as Vologda Region бзли́вый ‘spoiled, capricious’, Perm Region скобы́чка ‘a quarreler and a mean person’, etc. belong to the same family. The author builds potential lines of their semantic and motivational development. The family includes designations of character traits (arrogance, boastfulness, foppery, cockiness, quick temper, cunningness) and human behaviour (such ideograms as ‘to cry’, ‘to frown’, ‘to be angry’, ‘to take offense’). The author hypothesises that the lexical unit скабежливый also refers to the family of the -быз- root. This conclusion is made based on phonetic variation in the root (скабе́зливый, скабы́зливый, скобызко́й) and the similarity in the development of meaning for all the lexical units studied (also, they share the semantics of arrogance, sensitivity, and tearfulness)., Статья посвящена изучению в семантико-мотивационном аспекте трех русских диалектных слов, а именно пск., твер. посви́рывать ‘привередничать, брезговать’, калуж. ко́бзовать ‘брезговать’, дон., волгогр. ряз., тамб. скабе́жливый ‘брезгливый’. Исследовательский интерес вызывает то, что часть представленных лексем ранее не рассматривались в литературе, часть же имеет спорные этимологические решения. Автором статьи в слове посви́рывать выделяется корень -вир-. Мотивационно значимой при этом признается идея верчения, которая отражает народные наблюдения над поведением человека, отказывающегося от того, что ему предлагают. Тем самым во внутренней форме слова закрепляется аксиологическая оценка брезгливого поведения. Слово ко́бзовать автор связывает с кобызиться ‘вести себя надменно, гордо; упрямиться, ломаться’, быз ‘о плаксивом, капризном ребенке’. Делается предположение о принадлежности к этому же гнезду еще ряда лексем, таких как волог. бзли́вый ‘избалованный, капризный’, перм. скобы́чка ‘о вздорном, вредном человеке’ и др. Выстраиваются предполагаемые линии их семантико-мотивационного развития. Так, в гнезде содержатся обозначения черт характера (высокомерие, хвастливость, франтовство, бойкость, вспыльчивость, хитрость) и поведения человека (присутствуют такие идеограммы, как ‘плакать’, ‘хмуриться’, ‘злиться’, ‘обижаться’). Автор выдвигает гипотезу о том, что лексема скабежливый также относится к гнезду корня -быз-. Вывод делается на основании фонетического варьирования в корне (скабе́зливый, скабы́зливый, скобызко́й) и сходства в развитии значения для всех представленных лексем (здесь также обнаруживается семантика заносчивости, обидчивости, плаксивости).

Resumo Visando retirar do ostracismo um poema que ainda não foi lido como poema por ninguém na crítica brasileira, este ensaio procura dispor algumas reflexões em torno de oútis, que abre o livroNão, de Augusto de Campos. Partindo da única exceção de Gonzalo Aguilar, que lhe dedica dois parágrafos valiosos, desenvolve-se a hipótese de que as datas desmedidas que acompanham o título do poema permitem lê-lo como síntese da poética do autor. Num estudo preliminar das relações entre poesia e fotografia, em diálogo com formulações de Benjamin, Eisenstein e Fenollosa sobre a montagem cinematográfica e a técnica do ideograma, destaca-se a complexidade envolvida nesse “poema de uma palavra só” sobreposta à imagem de sombras na grama, cuja sintaxe supõe uma rede intrincada de conexões entre o visível e o legível, o português e o grego, a poesia, as artes visuais e outros poemas ao longo da história, com que entra numa constelação sincrônica. Abstract Aiming to remove from ostracism a poem that has not yet been read as a poem by anyone in Brazilian criticism, this essay seeks to provide some reflections around oútis, the opening poem in Augusto de Campos’ book Não. Starting from the only exception of Gonzalo Aguilar, who dedicates two valuable paragraphs to this poem, this paper puts forward the hypothesis that the excessively long date range appearing under the poem’s title leads us to read it as a synthesis of the author’s poetics. In a preliminary study of the relationship between poetry and photography, in dialogue with formulations by Benjamin, Eisenstein and Fenollosa on the cinematographic montage and the ideogram technique, we highlight the complexity involved in this “one-word poem” superimposed on the image of shadows on the grass, whose syntax assumes an intricate network of connections between the visible and the readable, Portuguese and Greek, poetry, visual arts and other poems throughout history, with which it enters in a synchronic constellation. Resumen Con el objetivo de sacar del ostracismo un poema que aún no ha sido leído como un poema por nadie en la crítica brasileña, este ensayo busca proporcionar algunas reflexiones sobre oútis, que abre el libro Não, de Augusto de Campos. Partiendo de la única excepción de Gonzalo Aguilar, quien le dedica dos valiosos párrafos, se desarrolla la hipótesis de que las fechas excesivas que acompañan el titulo del poema permiten leerlo como una síntesis de la poética del autor. En un estudio preliminar de la relación entre poesía y fotografía, en diálogo con formulaciones de Benjamin, Eisenstein y Fenollosa sobre el montaje cinematográfico y la técnica del ideograma, nosotros destacamos la complejidad involucrada en este “poema de una palabra” superpuesta a la imagen de sombras en la hierba, cuya sintaxis supone una intrincada red de conexiones entre lo visible y lo legible, el portugués y el griego, la poesía, las artes visuales y otros poemas a lo largo de la historia, con los cuales entra en una constelación sincrónica.

Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.

In this paper we propose to present the Parangadinkra, an esthetical-pedagogic object which we invented to envolve School and University in African oralities and traditional philosophies and oralities, still very seldom explored as source and production of knowledge, because of prejudice or ignorance. We have particular interest in ganeian ideograms called adinkra that transmit ethic-estetical and philosophic values of Akan people in Ghana. We thereby expect to 1) show that the language of these traditional simbols also make part of the great concept of orality of Hampâte Bâ, 2) that they show a wealth of possibilities of didactic educacional use, that can be enhanced by afroreferentials as Pretagogy.

En aquest document es presenta el desenvolupament realitzat per a la creació d'una aplicació per a navegadors web i que per tant, es podrà utilitzar tant en plataformes mòbils com a ordinadors. Aquesta aplicació té com a objectiu donar una mà als usuaris que estiguin aprenent japonès obtenint una eina que els motivi, ajudi i garantitzi l'aprenentatge del japonés a partir dels seus ideogrames i que a partir d'aquesta base els usuaris puguin anar aprofondint més en la llengua. Normalment, la quantitat de ideogrames que té el japonès sol espantar a la gent que el vol aprendre, és per això que aquesta aplicació ha creat diverses formes d'aprendre a partir de jocs bàsics de trivia. L'usuari també serà capaç d'anar resseguint el seu aprenentatge a partir de les moltes eines que ofereix l'aplicació i centrar-se en aquelles que li resultin més farragoses. L'aplicació intenta ser senzilla, amigable i intuïtiva per a facilitar el seu ús, també incorpora ajuts per a qui ho necessiti. This document outlines the development of a web browser application that can be used on both mobile and computer platforms. This application aims to help users who are learning Japanese by obtaining a tool that motivates them, helps and guarantees the learning of Japanese from their ideograms and that from this base users can go deeper into the language. Usually, the amount of ideograms that Japanese has usually frightens people who want to learn it, which is why this application has created various ways to learn from basic trivia games. The user will also be able to follow their learning from the many tools offered by the application and focus on the ones that are most cumbersome. The application tries to be simple, friendly and intuitive to make it easier to use, it also includes help for those who need it. En este documento se presenta el desarrollo realizado para la creación de una aplicación para navegadores web y que por tanto, se podrá utilizar tanto en plataformas móviles como ordenadores. Esta aplicación tiene como objetivo dar una mano a los usuarios que estén aprendiendo japonés obteniendo una herramienta que les motive, ayude y garantice el aprendizaje del japonés a partir de sus ideogramas y que a partir de esta base los usuarios puedan ir profundizando más en la lengua. Normalmente, la cantidad de ideogramas que tiene el japonés suele asustar a la gente que quiere aprenderlo, es por eso que esta aplicación ha creado diversas formas de aprender a partir de juegos básicos de trivia. El usuario también será capaz de ir siguiendo su aprendizaje a partir de las muchas herramientas que ofrece la aplicación y centrarse en aquellas que le resulten más farragosas. La aplicación intenta ser sencilla, amigable e intuitiva para facilitar su uso, también incorpora ayudas para quien lo necesite.

The conception of the actor as a living being who keeps his body engaged in a fictional time to create a scenic truth, is related to the real, present and above all trained body. This body, generator of signals meant to be understood by the observer, involves an inner understanding of signs and images that originate beyond its boundaries. The objective of this reflexive article is to propose a “form”2 type of Tai Chi Chuan as a limited and instinctive process, using its ideographic imagery as a guide for the creation of a “movement score”3, a resource for the actor to scrutinize the action that this imagery engenders and the relationship it establishes with his or her body language. The methodology is premised on an initial consideration that fans out into different possible analyses, until finally culminating in a “meta-reflection”4, based on prior knowledge and experience in both theater and Tai Chi Chuan. The above includes theoretical and practical aspects that allow dealing with the analysis of Tai Chi Chuan ideograms as images for their representation, to create a movement score from them. The didactics discovers those elements which might potentially help capture Tai Chi Chuan through its calligraphy and vice versa, adapting and reinterpreting understood aspects to the actor’s physical training, which will be evaluated and implemented in the future in the stage environment., La concepción del actor como un ser vivo que opera su cuerpo desde en un tiempo de ficción en el que sustenta una verdad escénica, está relacionada con el cuerpo real, presente y sobre todo entrenado. Ese cuerpo, generador de señales que busca ser entendido desde quien observa, implica la comprensión interna de signos e imágenes que tienen su origen fuera de él. El objetivo de este artículo de reflexión es proponer una “forma”6 tipo Tai Chi Chuan como proceso acotado e instintivo, usando su imagen ideográfica como guía para la creación de una “partitura de movimiento”7, recurso para que el actor escudriñe la acción que genera dicho símbolo y la relación que se establece con su gestualidad. La metodología parte de una consideración inicial que desemboca luego como perspectiva de análisis hasta convertirse en una “meta-reflexión”8, fruto del conocimiento previo y de la experiencia tanto en teatro como en Tai Chi Chuan. Lo anterior incluye aspectos teóricos y prácticos que permitieron ocuparse del análisis del ideograma del tai chi chuan como imagen que lo representa, para crear desde ella dicha partitura. La metodología descubre componentes factibles de ser extrapolados tanto de la caligrafía al Tai Chi Chuan y viceversa, refiriendo aspectos reinterpretados y adaptados al training físico del actor, los cuales serán evaluados e implementados a futuro en el ámbito escénico

В работе проведен анализ дизайна пиктограмм, рассмотрена особенность разработки, применения и влияния пиктограмм в образовательной онлайн-среде. На основе принципов дизайна выведены основные пункты разработки пиктограмм для онлайн-коммуникации в высшей школе. The paper analyzes the design of pictograms, considers the features of the development, application and infl uence of pictograms in the educational online environment. Based on the principles of design, the main points for the development of pictograms for online communication in higher education are derived.

The purpose of the article is to generalize theoretical and methodological approaches to the formation and development of pictograms as graphic elements at the present stage, which constantly accompany a person in various areas of one’s life. The research methodology applies a chronological, historical and comparative method for a general theoretical understanding of selected problems and detection of main historical milestones of the pictographic language in chronological order and the identification of current branches of its use. The artistic and composite analysis method was used when working with some design solutions and revealing the figurative potential of the icons more fully. The method of terminological analysis was used to identify modern terms to characterize pictograms, in particular for the digital environment. The scientific novelty of the work lies in a comprehensive study of the sources that reveal the historiographical aspect of the formation of pictograms and their development at the present stage; presenting development stages of pictographic language and its transformation, new options and aesthetic qualities in the digital environment. Conclusions. The significant impulse for the development of pictography was the beginning of the 20th century, when the project activity of Bauhaus and the guidelines established by this institution, including graphic design, contributed to the formation of a new system of pictographic language aimed at the visual presentation of information. Otto Neurath and E. Lissitzky’s work also contributed to the conciseness, recognition and clarity as to the main guidelines in the formation of pictograms. The end of the 20th century marked the beginning of the digital age when pictograms took the lead and transformed functionally and aesthetically. The pixel structure of the display on the monitors of phones, tablets, computers led to new rules for forming the expressiveness of the pictograms. At the present stage, the significant development of icons is provided by the gaming industry. Still, the features of integrity, uniform style, and subordination remain the main vectors in forming these graphic elements, particularly for game design., Цель статьи — обобщить теоретико-методологические подходы формирования и развития пиктограмм в виде графических элементов из разных отраслей жизнедеятельности человека на современном этапе. Методы исследования. Хронологический и историко-сравнительный методы способствовали реконструкции основных исторических вех пиктографической языка во временной последовательности и выявлению современных отраслей ее использования. Метод художественно-композиционного анализа систематизировал некоторые проектные решения для детального раскрытия образного потенциала пиктограмм. Метод терминологического анализа обеспечил выявление современных терминов для обозначения пиктограмм, в частности в цифровой среде. Научная новизна работы заключается в комплексном исследовании источников с историографического аспекта формирования пиктограмм и их развития на современном этапе; представлении исторических этапов развития пиктографической языка и его трансформации, новых функциональных и эстетических качеств в цифровой среде. Выводы. Важным толчком в развитии пиктографии стало начало ХХ века. Активное функционирование школы Баухауз и установленные этим учреждением ориентиры, в том числе и в графическом дизайне, сформировали новую систему пиктографической языка для наглядного представления информации. Профессиональная деятельность А. Нейрата и Л. Лисицкого также активизировала лаконичность, узнаваемость и понятность как основные ориентиры в формировании пиктограмм. Конец ХХ века ознаменовал начало цифровой эры, в которой пиктограммы не только заняли одно из ведущих мест, но и трансформировались содержательно и эстетически, приобрели интерактивность и видоизменились в графическом исполнении. Пиксельная структура отображения на мониторах телефонов, планшетов, компьютеров обусловила новые правила формирования выразительности пиктограмм. На современном этапе наибольшее развитие пиктограмм обеспечивается игровой индустрией, однако черты целостности, единого стиля и подчиненности остаются основными векторами в формировании этих графических элементов, в частности в гейм-дизайне., Мета статті — узагальнити теоретико-методологічні підходи формування та розвитку піктограм як графічних елементів із різних галузей життєдіяльності людини на сучасному етапі. Методи дослідження. Хронологічний та історико-порівняльний методи сприяли реконструкції основних історичних віх піктографічної мови в часовій послідовності та виявленню сучасних галузей її використання. Метод художньо-композиційного аналізу систематизував деякі проєктні рішення для детального розкриття образного потенціалу піктограм. Метод термінологічного аналізу забезпечив виявлення сучасних термінів для позначення піктограм, зокрема в цифровому середовищі. Наукова новизна роботи полягає в комплексному дослідженні джерел з історіографічного аспекту формування піктограм та їхнього розвитку на сучасному етапі; представленні історичних етапів розвитку піктографічної мови та її трансформації, нових функціональних та естетичних якостей у цифровому середовищі. Висновки. Важливим поштовхом у розвитку піктографії став початок ХХ століття. Активне функціонування школи Баухауз та встановлені цим закладом орієнтири, у тому числі й у графічному дизайні, сформували нову систему піктографічної мови для наочного подання інформації. Професійна діяльність О. Нейрата та Л. Лисицького також активізувала лаконічність, впізнаваність та зрозумілість як основні орієнтири у формуванні піктограм. Кінець ХХ століття ознаменував початок цифрової ери, у якій піктограми не лише посіли одне з провідних місць, але і трансформувалися змістовно й естетично, набули інтерактивності та видозмінилися в графічному виконанні. Піксельна структура відображення на моніторах телефонів, планшетів, комп’ютерів зумовила нові правила формування виразності піктограм. На сучасному етапі найбільший розвиток піктограм забезпечується ігровою індустрією, проте риси цілісності, єдиного стилю та підпорядкованості залишаються основними векторами у формуванні цих графічних елементів, зокрема в гейм-дизайні.

The purpose of the article is to generalize theoretical and methodological approaches to the formation and development of pictograms as graphic elements at the present stage, which constantly accompany a person in various areas of one’s life. The research methodology applies a chronological, historical and comparative method for a general theoretical understanding of selected problems and detection of main historical milestones of the pictographic language in chronological order and the identification of current branches of its use. The artistic and composite analysis method was used when working with some design solutions and revealing the figurative potential of the icons more fully. The method of terminological analysis was used to identify modern terms to characterize pictograms, in particular for the digital environment. The scientific novelty of the work lies in a comprehensive study of the sources that reveal the historiographical aspect of the formation of pictograms and their development at the present stage; presenting development stages of pictographic language and its transformation, new options and aesthetic qualities in the digital environment. Conclusions. The significant impulse for the development of pictography was the beginning of the 20th century, when the project activity of Bauhaus and the guidelines established by this institution, including graphic design, contributed to the formation of a new system of pictographic language aimed at the visual presentation of information. Otto Neurath and E. Lissitzky’s work also contributed to the conciseness, recognition and clarity as to the main guidelines in the formation of pictograms. The end of the 20th century marked the beginning of the digital age when pictograms took the lead and transformed functionally and aesthetically. The pixel structure of the display on the monitors of phones, tablets, computers led to new rules for forming the expressiveness of the pictograms. At the present stage, the significant development of icons is provided by the gaming industry. Still, the features of integrity, uniform style, and subordination remain the main vectors in forming these graphic elements, particularly for game design.

This publication aims to communicate the teaching experience carried out during the Ideas Workshop; a workshop developed with students from the first courses of Architectural Projects with the purpose of activating the space that substantiates the origin of all creative process: the idea. During four editions a delve into the field of generating ideas was proposed. For this intention, a series of dynamics aimed at exercising intuition and individual evocation, as well as the validation of strategies, the representation of abstract themes and finally the correct presentation of ideas were proposed. The Ideas Workshop intends to complete the teaching of Architectural Projects with a methodology that reinforces the subjective, sensitive, intuitive and intentional assessment of reality as the previous and, at the same time, necessary step when approaching the architectural project. La presente comunicación pretende compartir la experiencia docente realizada en el Taller de las Ideas, un workshop desarrollado con alumnos de los primeros cursos de Proyectos Arquitectónicos en el que procuramos activar aquel espacio en el que se fundamenta el origen de todo proceso creativo: la idea. Durante cuatro ediciones propusimos a los alumnos profundizar en el campo de la generación de las ideas. Para ello planteamos una serie de dinámicas encaminadas a ejercitar la intuición y la evocación individual, así como la validación de estrategias, la representación de temas abstractos y finalmente la correcta exposición de sus ideas. El Taller de las Ideas pretende completar la docencia de Proyectos Arquitectónicos con una metodología que refuerce la valoración subjetiva, sensible, intuitiva e intencionada de la realidad como el paso previo y a la vez necesario a la hora de abordar el proyecto arquitectónico.

This article explores transformations in Peter Wilson’s work by reading his Japanese projects of the late 1980s in relation to Roland Barthes’s Empire of Signs. The specific account it develops is constructed around the entries Wilson produced for the 1978 and 1988 Shinkenchiku Residential Design Competitions. What makes this a comparison of particular interest is that the competitions, a decade apart, were run under nearly – but not quite – the same brief. The first was set by Peter Cook, who called for projects for a ‘Comfortable House in the Metropolis’. This idea was then taken up for the second by Toyo Ito, although he inflected it with an emphasis on the ephemerality of the physical under the effects of new electronic communication technologies. Drawing on Barthes’s observations, the article argues that – across these years – Wilson’s work moves from an approach grounded in metaphor to a mode that is increasingly ideogrammic, and that this is supported by, and reflected in, the way that his drawings change. Here, I claim, the submarine – allusions to which become prominent in Wilson’s work in the period – comes into focus as the key transitional device. Importantly, Wilson’s submarine is not a tool for plumbing depth conditions; rather, it is quite the opposite, insofar as it acts as a figurative cipher, an ideogram in its own right, for the act of screening out relations and drying up metaphoric fluidity. In its conclusion, the article brings the 1988 project into contact with earlier ideogrammic experiments within modernity, including the drawings of Henri Michaux and the reflections of Sergei Eisenstein on cinematic montage and compound ideograms.

Different methods of chromosome preparation for insect are now being used across the world. Well-spread chromosomes with explicit morphology, in addition to no cell wall debris are required for karyotype investigations. Cytogenetic knowledge in Trichogramma is extremely limited. In the article, chromosome characters, karyotype and monoploid ideogram of Trichogramma embryophagum Htg. (Hymenoptera: Trichogrammatidae) were evaluated using a new method. Also, karyotype symmetry/asymmetry of this species was calculated for the first time as one of the Trichogramma species. Our results showed that the diploid chromosome number of the wasp was 2n = 10. The karyotype formula was 6m + 4a. The symmetry/asymmetry index value was 1.8. The new method resulted in higher quality metaphase plates spread and provided an ideal karyomorphology for this parasitoid which has small chromosomes., Caryologia. International Journal of Cytology, Cytosystematics and Cytogenetics, Vol. 73 No. 3 (2020)

This research aimed at comparing the visual poetry and haiku, having as investigative impulse the aesthetic contributions of these poetic forms to contemporary poetry in our country. In order to achieve our goal, we chose Augusto de Campos´ visual poems and the Haiku by Paulo Leminski. Then, it was verified which poetics aspects of these authors narrow and / or distance aesthetically, and what the theoretical consequences of such narrowing or distancing are. To compose the corpus of this research it was chosen the poems by Augusto, present in his work: Viva Vaia (2014), which contains poems from 1959 to 1979. It was also used Leminski Haiku´s, which presents visual aids in their constitution, Caprichos & relaxos (2016). The corpus analysis of the research was carried out having as a background the General Theory of Signs, elaborated by the American thinker Charles Sanders Peirce. Thus, it was prioritized the three categories of the sign that form the most important of the trichotomies considered by the North American researcher in his speculative grammar: the symbol, the index and the icon; of this last category, it was emphasized its subclassification: the image, the diagram and the metaphor. It was used as theoretical contributions the studies of Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012), among other authors. We found out that one of the biases that narrows the poetics of these authors is an inclination towards dialogue with the Eastern tradition, based on the way of composing inspired by Japanese ideograms whose influence was a “watershed” for many Western poets in the 20th century, reverberating also in the productions of the 21st century. RÉSUMÉ. Cette recherche est dédiée à l’ étude comparative entre poésie visuelle et haiku pour étudier les contributions esthétiques de ces formes poétiques presentes dans la poésie contemporaine du Brésil. Pour cela, nous avons choisi les poèmes visuelles d’Augusto de Campos et les haiku de Paulo Leminski; on vérifie alors sous quels aspects la poétique de ces auteurs approche et ou distancie esthètiquemente et quelles sont les conséquences théoriques de celle approche et ou distance. Pour le corpus de la recherche, nous avons choisi les poèmes d ‘Augusto dans l’oeuvre Viva Vaia (2014) qui a rassemblé oeuvres poétiques de 1959 -1979. Nous utilisons également, haiku de Leninski qui ont des aides visuelles dans leur constituition, publiés dans le livre Caprichos & relaxos (2016). Siècle. Nous avons réalisé l’analyse du corpus de recherche à la lumière de la Theorie Général des Signes, prèparée par le penseur américain Charles Sanders Peirce. Ainsi, nous priorisons les trois catégories du signe qui forment la trichotomie la plus importante envisagée par le chercheur nord-américain dans son gramatique spéculatif: le symbole, l’ index et l’icône; de cette dernière catégorie nous soulignons sa sous-classification: l’image, le diagramme et la métaphore. Nous avons utilisé comme contribuition théorique les études de Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012), entre autres. Nous avons constaté que l’ un des biais qui approche la poétique de ces auteurs est la inclination au dialogue avec la tradiction orientale, basée sur la manière de composer inspirée de idiogrammes japonais, dont l’influence a été importante pour de nombreux poetes occidentaux au XXe siècle, egalement dans les productions du XXle. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES Esta pesquisa dedicou-se ao estudo comparativo entre a poesia visual e o haicai, tendo como motivação investigativa as contribuições estéticas dessas formas poéticas para a poesia contemporânea em nosso país. Para tal fim, elegemos os poemas visuais de Augusto de Campos e os haicais de Paulo Leminski. Verificamos, então, em quais aspectos a poética desses autores se aproxima e ou se distancia esteticamente e quais as consequências teóricas dessa aproximação ou desse distanciamento. Escolhemos para compor o corpus da pesquisa poemas de Augusto de Campos, presentes na obra Viva Vaia (2014), que reúne poemas de 1959-1979. Utilizamos também haicais de Paulo Leminski, os quais apresentam recursos visuais em sua constituição, publicados no livro Caprichos & relaxos (2016). Realizamos a análise do corpus da pesquisa à luz da Teoria Geral dos Signos, elaborada pelo pensador norte-americano Charles Sanders Peirce. Priorizamos, assim, as três categorias do signo que formam a mais importante das tricotomias consideradas pelo pesquisador norte-americano, em sua gramática especulativa: o símbolo, o índice e o ícone. Dessa última categoria, ressaltamos a sua subclassificação: a imagem, o diagrama e a metáfora. Além da referência à obra de Peirce, utilizamos, como aporte teórico, entre outros, estudos de Haroldo de Campos (2000), Ernest Fenollosa (2000), Ferraz Jr. (2012), Roman Jakobson (1995), Winfried Nöth (2003), Charles S. Peirce (2015), Décio Pignatari (2004), Ezra Pound (2006) e Lúcia Santaella (2012). Dentre os resultados dessa pesquisa, constatamos que um dos vieses que aproxima da poética desses autores é uma inclinação para o diálogo com a tradição oriental, baseada no modo de compor, inspirado nos ideogramas japoneses, cuja influência foi um “divisor de águas” para muitos poetas ocidentais, no século XX, reverberando igualmente nas produções do século XXI.

This teaching action, carried out in parallel to the development of the End of Degree Project, has been organized with the aim of providing students with sufficient tools to be able to define project ideas as clear and refined as possible. A brief theoretical definition and an extensive presentation of case studies have been carried out. The objective of this experience has been focused on the achievement of an ideogram for each project. I must have been capable of condensing the conceptual germ of each work. Along with a slow and reflective process of project and graphic maturation, it has been possible that the ideogram gives rise to greater involvement and self-demand of the students. More consistent projects have been produced as a result. At the same time, the results have been more differentiated from each other, moving away from homogeneity and repetition thanks to the activation of the proactive capacity of the students. Esta acción docente, llevada a cabo en paralelo al desarrollo de la asignatura de Proyecto Fin de Carrera, se viene organizando con la voluntad de dotar a los alumnos de las herramientas suficientes para conseguir definir ideas de proyecto lo más claras y depuradas posibles. Se ha centrado el objetivo de esta experiencia en la consecución de un ideograma para cada proyecto, capaz de condensar el germen conceptual de cada trabajo. Tras una breve definición teórica y una extensa exposición de casos de estudio, así como un proceso pausado y reflexivo de maduración proyectual y gráfica, se ha conseguido que el trayecto de consecución del ideograma, dé pie a una mayor involucración y autoexigencia por parte de los estudiantes. También ha propiciado respuestas arquitectónicas no solo más coherentes, sino más diferenciadas entre sí, alejándose de la homogeneidad y la repetición gracias a la activación de la capacidad propositiva de los alumnos.

In the history of cultural exchange between China and the West, it’s a deed praised far and wide that the Chinese paintings Eight Views of Xiao Xiang had exerted great influence on Ezra Pound’s poetic work “Seven Lakes Canto” or “Canto 49.” By exploring the details of the paintings and tracing the influence of the paintings on the creation of the poem, this paper reveals that the etymological and compositional use of Chinese ideograms had an enormous impact on Pound’s thinking about poetry and cultural matters, and on the writing of The Cantos. Pound, by adopting the images of China in Eight Views of Xiao Xiang, finds another paradise, so the Chinese cultural elements enabled him to create a new entity in its own right: the Poundian poem. Discussion of Pound’s “Seven Lakes Canto” from his poetic and translation theories certifies that the poem can actually be perceived as a unique way of interpreting and displaying China. Resumo: Na história das trocas culturais entre a China e o Ocidente, é um feito amplamente louvado que as pinturas chinesas Oito Vistas de Xiao Xiang tenham exercido grande influência na obra poética de Ezra Pound “Seven Lakes Canto” ou “Canto 49”. Ao explorar os detalhes das pinturas e traçar a influência das pinturas na criação do poema, este artigo revela que o uso etimológico e composicional dos ideogramas chineses teve um enorme impacto no pensamento de Pound sobre poesia e assuntos culturais, e na escrita dos Cantos. Pound, ao adotar as imagens da China em Oito Vistas de Xiao Xiang, encontra outro paraíso, de modo que os elementos culturais chineses lhe possibilitaram criar uma nova entidade em seus próprios termos: o poema poundiano. A discussão de “Seven Lakes Canto”, de Pound, a partir de suas teorias poéticas e tradutórias, comprova que o poema pode de fato ser percebido como um modo único de interpretar e apresentar a China.

The linguistic form of the Hebrew Old Testament retained its ancient ideogram values included in the mystical directions and meanings originating from the divine way of addressing people. As such, the Old Hebrew alphabet has remained a true lexical treasure of the God-established mysteries of the ecclesiological way of existence. The ideographic meanings of the Old Hebrew language represent the form of a mystagogy through which God spoke to the Old Testament fathers about the mysteries of the divine creation, maintenance, and future re-creation of the world. Thus, the importance of the ideogram is reflected not only in the recognition of the Christological elements embedded in the very structure of the Old Testament narrative, but also in the ever-present working structure of the existence of the world initiated by the divine economy of salvation. In this way both the Old Testament and the New Testament Israelites testify to the historicizing character of the divine will by which the world was