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Copyright of Journal of Beijing University of Civil Engineering & Architecture is the property of Journal of Beijing University of Civil Engineering & Architecture Editorial Office 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.)

A palimpsest is a writing erased and replaced by another. Sometimes, perhaps all too often, our lives become incarnated palimpsests thanks to the prevailing biopolitics, which refers not only to the government of the living, but also to the multiple practices of dying and disappearing. Can art teach us to create new spaces of co-habitation with our essential ghosts, with those who refuse to abandon us despite everything? In this article we address the work entitled Palimpsesto, in which the Colombian artist Doris Salcedo (Bogotá, 1958), makes visible one of the most ignominious events in our recent history: the deaths of thousands of people in the Mediterranean due to indifference and, on occasions, the complicity—conscious or unconscious—of a desensitized European society, closed in on itself. In Palimpsesto, the artist creates a space where those absences are permanently present in absentia. However, Salcedo’s art goes beyond testimony and representation: the tears that flow from the earth itself, outlining on the ground the names of women and men who drowned while fleeing war, reveal not only the need to name those who are no longer with us, but could lay the foundations to erect a kind of divinology (Meillassoux, “Deuil à venir” 105) through which new ties and forms of dwelling would be built, beyond interested political use, between human beings and those harassing absences.

A prospecting tour carried out in 2018 in the vicinity of Kalaat Senane, near the “Table of Jugurtha”, made it possible to locate at Henchir Fortnat, an archaeological site long identified as being the center of a private estate owned by senator C. Iunius Faustinus Placidus Postumianus, an unpublished bilingual epitaph written in Greek and Latin, brought to light by a clandestine excavation carried out north of the site.

This paper is an attempt to provide an alternative and enriched genealogy of the utopian masterplan for Cold War era Berlin titled “The City in the City: Berlin, the Green Archipelago,” which the German architect Oswald Mathias Ungers developed in the latter half of the 1970s. This highly speculative project concerned with Berlin’s charged voids is dissected through a series of micro-histo[1]ries relative to the precedents that inform its fragmentary nature. Rather than a singularity or the product of a mastermind aided by disciples, as it has thus far been approached in the historiography of architecture, I shall position it as a centerpiece in a series of projects that unveil a shared repertory of formal operations and intellectual concerns. In tandem, the paper provides a lexicon for the term fragment as it has been perceived, theorized, and deployed in this sociopolitical and historical context, namely six distinct definitions, effects, and states of the fragment - fractures, ruins, debris, lacunae, elements, and the notion of the unfinished. Through this scope, I consider the preoccupation with formal disjunction between parts and whole in architectural discourse during the second half of the twentieth century, particularly as it relates to the experience and design of the city. The latter, I argue, is informed by a critical stance to the technophiliac and abstrac[1]tionist tendencies of Modern architecture and a swerve towards a renewed interest in history and the palimpsestic quality of the urban tissue in the aftermath of World War II.

Transformation of regional identities by administrative spatial restructurings has been relatively little studied, particularly in the context of regional deinstitutionalization. This article develops further a theoretical and conceptual framework of regional identities in spatial restructurings by discussing how deinstitutionalized 'phantom' regions with 'penumbral' borders beget more hybrid spatial identities. Empirically, the focus is on the Huizhou region in China: we study the changes in regional identity generated by several spatial de‐ and reconstruction processes. Underlining hybridity, we show that, although regional identity is shifting away from territorial belonging to Huizhou in some parts of the region (e.g. Wuyuan County), cultural identification with the Huizhou region remains strong even after a long period of administrative separation. Relatedly, we point out that deinstitutionalization in the Huizhou region has not been exhaustive and its regional identity is being increasingly reconstructed in a utilitarian manner for economic purposes. Despite (and partly because of) this, a sense of regional belonging has been maintained. Regional identities associated with Huizhou are relational and, more precisely, hybrid, as they are connected to regions that are neither fully institutionalized nor deinstitutionalized but appear as multilayered palimpsests that are being transformed through processes of constant making and remaking. [ABSTRACT FROM AUTHOR]

Archaeological palimpsests are depositional units where the remains of various human occupations have been mixed for hundreds to hundreds of thousands of years. They create various sets of analytical scales that archaeologists must deal with routinely. In this paper, I argue that sociocultural processes derived from a communities of practice framework — scaffolding, guided participation, and continuity through shared activities — can be used by archaeologists to describe a palimpsest's lithic assemblage, to differentiate its patterns, and to interpret their meaning. These processes must first be remapped onto an ecological approach to skill before they can be expanded onto new sets of scales, however. I ground my work at the site of La Martre (Quebec, Canada), a nexus of fifteen marine terraces spread over 500,000 m2. Slow depositional processes and plowing have mixed its lithic remains to create a 10,000-year-wide depositional unit with poor chronological and spatial control. Fieldwork conducted between 1995 and 1999 sampled 0.03% of its total surface. Most of its 2111 tools and 207,506 flakes were uncovered in its 40-cm-thick plowzone. I build methodological tools — dispersion surfaces, skill combinatorics, and extended skilled reduction sequences — to describe a small subset (N=93) from one of La Martre's loci (16-west). I describe ten extended skilled reduction sequences showing various degrees of skill and knapping methods. Concepts of scaffolding, guided participation and continuity through shared activities are then used to interpret these patterns. [ABSTRACT FROM AUTHOR]

In 2022, Gysembergh et al. published a paper in JHA claiming 'New evidence for Hipparchus' Star Catalogue'. In this paper we challenge this hypothesis by stating that (a) we disagree with their astronomical dating and find inconsistencies by using the given numbers, and (b) the terminology and the data format used in the palimpsest do not match Hipparchus or anybody else. Therefore, the palimpsest does not prove anything about Hipparchus's star catalogue nor did Hipparchus use rectangular constellation borders. Specifically, the constellation of Corona Borealis, typically depicted as a circle since Babylonian times, is not considered a rectangle by Hipparchus. Furthermore, a palimpsest that cannot be dated properly does not confirm the long-known relationship between Hipparchus and Ptolemy as the authors claim. [ABSTRACT FROM AUTHOR]

The palimpsest, a manuscript on which the original writing has been erased to make room for later writing, is proposed as a metaphor and method of reading the landscape in layers, based on indicators related to the occupation of a place by different societies. In the case of Mexico City, with seven centuries of continuous settlement, four successive stages of occupation are identified that are confirmed by their successive place names. This palimpsest narrative offers a reverse chronological reading of the spatial organization of the city that has led to changes in the landscape, some visible and others buried. [ABSTRACT FROM AUTHOR]

Recognizing stratigraphically important bounding surfaces relies on assessing the facies that juxtapose these surfaces as well as the trace fossil omission suite associated with the surface. The ability to differentiate between purely transgressive surfaces and those that conceal earlier stratigraphic surfaces that allude to a more complex history of development regarding the identification of allogenic surfaces of sequence stratigraphic significance that might have otherwise been overlooked. This study analyzes four examples of transgressive surfaces of erosion from Cretaceous-aged strata, with three of the examples representing a TSE/SB (amalgamated transgressive surface of erosion with a sequence boundary) that mask earlier base level falls. Consideration of variable omission suites along depositional strike and dip highlights the influence of substrate rheology on the nature of omission suites. In this study we demonstrate marked changes in the omission suite along bounding surfaces along proximal to distal trends that arise due to changes in underlying rheology. Finally, detailed core analysis is shown to be an imperative asset to subsurface investigation to address the limitations of using wireline well data alone in identifying stratigraphically important surfaces for more accurate regional mapping and characterization of transgressive surfaces. This study highlights that many stratigraphically important surfaces such as those that correspond to a TSE/SB may go unnoticed if utilizing wireline data alone. Overall, this study provides a comprehensive approach to further understanding and identifying transgressive surfaces in the rock record, especially those that demarcate a more complex history other than simple transgressive ravinement. [ABSTRACT FROM AUTHOR]

Through a visual essay, the author explores the intersection of trauma and sexual health education (SHE) using art-based expressions from an ethnographic exploration of novice educators' embodied experiences of SHE training. In particular, the author examines educators' engagements with two forms of trauma: (1) self-trauma: trauma personally experienced by sex educators and (2) trauma transposition: other individuals' disclosures of past harms to the educators. The author theorizes these engagements together as a form of cumulative witnessing – the collective, excessive consumption of violence through direct and vicarious exposures. Inspired by palimpsest methods, carbon tracing paper and photography were used to express the educators' cumulative witnessing of sexual traumas via visually layering their words, drawings and expressed feelings about the sexual traumas that thread through SHE. The inquiry highlights key implications for SHE pedagogical practices, including acknowledging trauma, dealing with trauma disclosures and learning from and with trauma. [ABSTRACT FROM AUTHOR]

Copyright of Aposta is the property of Aposta 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.)

Restructuring routes are significant urban elements that lead to physical changes in cities to meet modern needs, often resulting in traumatic transformations. This study investigates the morphological impact of the palimpsest phenomenon on Istanbul's Atatürk Boulevard, an exemplar of restructuring routes. The Boulevard's construction disrupted the organic urban fabric, creating a new structure and altering the area's identity. By employing a typomorphological analysis based on Conzen's Town Plan Analysis, this research examines changes in the street, building, and subdivision systems. The study utilizes historical and contemporary maps to reveal the effects of Atatürk Boulevard on urban morphology, demonstrating both positive and negative consequences of restructuring routes. Findings indicate that the boulevard increased the economic value of the area but also led to the fragmentation and loss of historical urban elements, contributing to a complex urban palimpsest. The study highlights the need for sensitive urban planning to preserve the city's historical identity while accommodating modern developments. The insights gained are crucial for architects and urban planners in managing urban landscapes, ensuring sustainability, and respecting historical contexts in future developments. [ABSTRACT FROM AUTHOR]

What is the common point between Robert Macfarlane, the specialist of George Eliot, and Robert Macfarlane, the celebrated author of nature walking experiences. The answer lies probably in the communal dimension of walking. The top down approach, whereby cardinal points are regulatory benchmarks, both spatial and ideological, is reversed by an immersive approach. What counts is the immediacy of the relation with space; a sensory, experiental apprehension of place, epitomised by ‘footfall as knowledge.’ In a world controlled by geolocation, Macfarlane toys with the idea of ‘walking off the map’. If the appeal of the North was foundational for the contemporary nature writer, the North soon came to stand for a mindset rather than for a specific geographic area. Macfarlane’s relation to the cardinal points is complex; he lends them a near mysticial value in The Old Ways. A Journey on Foot before engaging in metageographical reflection in Landmarks. Finally, by plunging underground, Macfarlane powerlessly witnesses the ecological disaster of the anthropocene from the Deep North.

This paper presents, from an approach of archaeothanatology, osteobiography, bioarchaeology of care and palimpsest, the analysis of one of the most important archaeological findings recently made in western Mexico. It is about a female person buried in a lavish tomb in the Tingambato archaeological site, Michoacán, Mexico, dated 1400 years ago, with more than 19,000 objects covering her body. This research presents the results of the work of almost a decade of studies carried out by different methods on this individual: morphophysical studies, taphonomy, dating, genetics, as well as various techniques of virtual archaeology among others. Through the Index of Care it was possible to systematize all the information obtained by different study methods and integrate it for analysis. The use of archaeothanatology and the Index of Care makes it possible to perform analyses on specific individuals from the past to establish their health conditions and the probable causes of death. The main limitation that arose was the poor state of preservation in which we received the bones, which unfortunately did not allow us to carry out some morphoscopic and taphonomic studies that would have been relevant. [ABSTRACT FROM AUTHOR]

Studies with RNA enzymes (ribozymes) and protein enzymes have identified certain structural elements that are present in some cellular mRNAs and viral RNAs. These elements do not share a primary structure and, thus, are not phylogenetically related. However, they have common (secondary/tertiary) structural folds that, according to some lines of evidence, may have an ancient and common origin. The term 'mRNA archaeology' has been coined to refer to the search for such structural/functional relics that may be informative of early evolutionary developments in the cellular and viral worlds and have lasted to the present day. Such identified RNA elements may have developed as biological signals with structural and functional relevance (as if they were buried objects with archaeological value), and coexist with the standard linear information of nucleic acid molecules that is translated into proteins. However, there is a key difference between the methods that extract information from either the primary structure of mRNA or the signals provided by secondary and tertiary structures. The former (sequence comparison and phylogenetic analysis) requires strict continuity of the material vehicle of information during evolution, whereas the archaeological method does not require such continuity. The tools of RNA archaeology (including the use of ribozymes and enzymes to investigate the reactivity of the RNA elements) establish links between the concepts of communication and language theories that have not been incorporated into knowledge of virology, as well as experimental studies on the search for functionally relevant RNA structures. [ABSTRACT FROM AUTHOR]

This paper describes the lithic aggregates from Sitwe 23 (SW23), a Stone Age locality in a previously unstudied region of the northern Luangwa Valley, Zambia. This area yielded two surface lithic scatters containing abundant artifacts derived from Pleistocene sediments on uplifted terrain and exposed by recent erosion on two adjacent terraces. The scatters are time-averaged palimpsests formed by deflation, but most of the lithics lack evidence of significant fluvial transport or post-depositional damage, indicating minimal horizontal displacement. Typological and attribute analyses of samples from both spurs reveal predominantly simple and expedient core and flake technologies, as well as sophisticated biface manufacture and Levallois technique producing flakes and points that are differentially distributed between the terraces. The artifacts identified in this analysis include types conventionally considered diagnostic of the Acheulean, Sangoan, and Middle Stone Age, suggesting that the collections may document one or more temporal windows during the Chibanian age (770–126 ka). Whether artifacts in these samples were originally deposited sequentially or concurrently is not yet known and alternative hypotheses are presented and discussed. The collections are compared to sites in Zambia and the northern Lake Malawi basin and found to be similar technologically but typologically different. Given the paucity of previously known Ston Age archaeological sites in the region, our work now demonstrates that northern Luangwa has significant archaeological potential and deserves further study. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Humanities & Tourism Research (JoHUT) is the property of Journal of Humanities & Tourism Research 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.)

Part of a larger ethnographic study on Italian youth mobilities, this paper investigates the transitions to adulthood of young returnees who have gone back to Italy after a period of living and working in Australia. Adopting the 'mobile transitions' approach, we illustrate the ways in which mobility affects transitions to adulthood. We suggest that upon return these transitions unfold like a palimpsest, where the old texts are layered over with new ones, unsettling conventions about adult life and disrupting assumptions that return is a final stage in the transition process. New meanings around adulthood emerge in these young Italians' mobile experience that continue also after return. We explore this through their aspirations for the future and their renegotiation of family relationships. Return for these young movers means bringing home a new perception of their current and future selves and especially of their role within their family of origin and Italian social and political culture. This is significant if we consider that Italy is the 'country of the long family' (Cavalli, A. 1997. "La lunga transizione all'età adulta." In Giovani del nuovo secolo. Quinto rapporto IARD sulla condizione giovanile in Italia, edited by C. Buzzi, A. Cavalli, and A. De Lillo, 38–45. Bologna: Il Mulino), where the youth condition is characterized by a delayed acquisition of autonomy and the consequent late assumption of responsibility and adult roles. [ABSTRACT FROM AUTHOR]

The world in 2020 presented Australia with a world on fire, in lock down, and in environmental ruin, with potentially unprecedented social dislocation, homelessness, unemployment and mental health issues. Four artists reaction was to collaborate in an attempt to make sense of the complex COVID-19 context that was unfolding in front of them. Their interdisciplinary collaboration resulted in the multimedia artwork: Contested Spaces. Two iterations of the artwork (2020 and 2021) were exhibited as the artists navigated the unfolding spaces inhabited as they learnt to live and cope under the strictures of COVID-19. The 2021 iteration, was part of a national arts and mental health focus consisting of exhibitions, talks and workshops at the National Art School in Sydney and ECU Galleries in Perth. Through Contested Spaces the artists explored the complexity of unique circumstances brought about by the pandemic. Working collaboratively across disciplinary boundaries, created a space in which alternate understandings manifested as a consequence of the situation. This paper argues that the ongoing narrative of COVID-19 needs to be examined and scrutinized, in reconsidering our constant perpetual present, one that contests ideas and art making processes, proffering interdisciplinarity methods as a productive means for critiquing everyday pandemic complexity. [ABSTRACT FROM AUTHOR]

Restructuring routes are significant urban elements that lead to physical changes in cities to meet modern needs, often resulting in traumatic transformations. This study investigates the morphological impact of the palimpsest phenomenon on Istanbul's Atatürk Boulevard, an exemplar of restructuring routes. The Boulevard's construction disrupted the organic urban fabric, creating a new structure and altering the area's identity. By employing a typomorphological analysis based on Conzen’s Town Plan Analysis, this research examines changes in the street, building, and subdivision systems. The study utilizes historical and contemporary maps to reveal the effects of Atatürk Boulevard on urban morphology, demonstrating both positive and negative consequences of restructuring routes. Findings indicate that the boulevard increased the economic value of the area but also led to the fragmentation and loss of historical urban elements, contributing to a complex urban palimpsest. The study highlights the need for sensitive urban planning to preserve the city's historical identity while accommodating modern developments. The insights gained are crucial for architects and urban planners in managing urban landscapes, ensuring sustainability, and respecting historical contexts in future developments

AbstractAmid the racial uprisings of 2017 and 2020, digital projections emerged as a mode of protest contributing to the calls for removal of Confederate monuments. These digital projections, I argue, created a dialogue between the contested Confederate monuments (the past) and their contemporary surroundings (the present). By examining the digital projections that were cast upon the Albert Pike Memorial in Washington, D.C. and the Robert E. Lee Monument in Richmond, Virginia, I demonstrate how they employed a palimpsest to facilitate discourse concerning public memorialization practices and to re-contextualize and reclaim contested sites into spaces for community engagement. [ABSTRACT FROM AUTHOR]

Copyright of Cities, Communities & Territories / Cidades, Comunidades e Territórios is the property of Instituto Universitario de Lisboa, DINAMIA-CET 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.)

A palimpsest is a writing erased and replaced by another. Sometimes, perhaps all too often, our lives become incarnated palimpsests thanks to the prevailing biopolitics, which refers not only to the government of the living, but also to the multiple practices of dying and disappearing. Can art teach us to create new spaces of co-habitation with our essential ghosts, with those who refuse to abandon us despite everything? In this article we address the work entitled Palimpsesto, in which the Colombian artist Doris Salcedo (Bogotá, 1958), makes visible one of the most ignominious events in our recent history: the deaths of thousands of people in the Mediterranean due to indifference and, on occasions, the complicity--conscious or unconscious--of a desensitized European society, closed in on itself. In Palimpsesto, the artist creates a space where those absences are permanently present in absentia. However, Salcedo's art goes beyond testimony and representation: the tears that flow from the earth itself, outlining on the ground the names of women and men who drowned while fleeing war, reveal not only the need to name those who are no longer with us, but could lay the foundations to erect a kind of divinology (Meillassoux, "Deuil à venir" 105) through which new ties and forms of dwelling would be built, beyond interested political use, between human beings and those harassing absences. [ABSTRACT FROM AUTHOR]

Orphic studies specialists have recently been fortunate due to Giulia Rossetto's discovery of an unknown hexameter text within a palimpsest, which had Arabic script on its surface. This text stands out for its artificial literary language, typical of the epic tradition, and the presence of direct speech. Its archaic style is characterized by the reuse of Homeric formulas and echoes phrases from various texts, such as the Rhapsodies, Nonnus' Dionysiaca, and the Orphic Hymns (Rossetto, 2021). The intertextual links between the Sinai hexameters and these texts, especially the direction of their influence, are yet to be established. This paper will detail the codex's condition, describe the text's material features, summarize its content, and explore the academic discussion it has ignited. [ABSTRACT FROM AUTHOR]

This article explores the theme of the journey in Abū Bakr b. Muḥsin Bā 'Abbūd al-'Alawī's al-Maqāmāt al-hindiyyah (the Indian assemblies), completed in 1111/1715. Drawing from the concept of the palimpsest as used by Abdelfattah Kilito to define the structure of the narrative, the article argues that it comprises layers of separate but interconnected narratives accommodating divergent and at times contradictory viewpoints on the journey motif that can emerge in isolation in a single story. The theme of the journey, embedded within a repetitive narrative, thus unfolds through various refractions and variations, some repeating and thus corroborating a view, others varying and thus contributing to the mosaic of the theme's image. This process of thematic fragmentary development mirrors the inscription and re-inscription of the journey motif, presenting different perspectives on space, travel, and belonging. Putting together this palimpsestuous layering of narration, the theme of travel gives way from a cry for a lost watan homeland to the transfer of the watan within the subcontinent. [ABSTRACT FROM AUTHOR]

This article tackles the political emergence of feminisms. It centres and reflects on the gestures and uprising of women against a hegemonic discursive order, an order of the text. The logic of the explicit or implicit agreement so that women's voices are not heard is broken with the appearance of countertexts which mean the politicization of the public sphere. I propose the figure of the palimpsest as a reflection on the different layers of memory of the passions of the past in the present and of the present that is a past. [ABSTRACT FROM AUTHOR]

The Handmaid's Tale inhabits an imaginary space defined by biblical narratives and set in the near future, when low fertility has reached a critical point. The solution provided by the Bible-based totalitarian regime in Gilead is to offer "handmaids" as surrogate mothers to members of the ruling elite. The biblical basis is chillingly re-enacted through the set reading of Genesis 30:1-3 that precedes and legitimises the ritual rape of the household-dedicated handmaiden. While this text from Genesis clearly provides the rationale for addressing issues of fertility in Gilead, I focus here more specifically on how the book of Judges (specifically Judges 19-21) is marshalled to provide an implicit framework for The Handmaid 's Tale. This article analyses the complex ways in which the Bible is used and abused in both the novel and the fourth season of the TV series, using literary and feminist lenses. It will be argued that both narratives, the book of Judges and Atwood's tale, contain elements of subversion and deconstruction. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications 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 Journal of Theatre Criticism & Dramaturgy / Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is the property of Journal of Theatre Criticism & Dramaturgy 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.)

The article presents a comparative analysis of Polish, Catalan, and Spanish prose by women that utilizes the methodology of post-dependence studies. I used the category of post-dependence palimpsests, understood as specific discursive strategies that refer back to the time of dependence (the authoritarian stage). I distinguished two types of palimpsests: post-dependence dislocations and “budding” narratives. Based on the developed tools, I analyzed four narrative texts published during the Polish and Spanish transition: My zdes’ emigranty (1991) by Manuela Gretkowska, Aboslutna amnezja (1995) by Izabela Filipiak, El cuarto de atrás (1978) by Carmen Martín Gaite, and Una primavera per a Domenico Guarini by Carme Riera (1981). I used the post-dependence perspective as a complementary method to feminist approaches. [ABSTRACT FROM AUTHOR]

The spectral in translation may be considered an opportunity for opening, and the textual haunting that results, a way of conceiving of other-inhabitedness. Texts, translations, authors and translators have long been framed in the discourse of hauntedness as a way of coming to terms with their complex subjectivities. A hauntological approach to translation allows for an engagement with the presence-in-absence of a 'source,' the translational disjunctures of time and space, the return of the traumatic and the repressed, and the promise of alterity. We posit three potential components of translational spectrality: (1) translation and trauma; (2) haunted texts and readings, including acts of translation; and (3) the spectral author and translator. The figure of the ghost confronts that of the autonomous author, at the same time giving voice to the (dis)embodied translator and attendant invisibilities of their status. [ABSTRACT FROM AUTHOR]

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ 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.)

W artykule poddano analizie pisarskie ekspresje sąsiedztwa nad Dniestrem zawarte we fragmentach Wspomnień Odessy, Jedysanu i Budżaku. Dzienniku przejażdżki w roku 1843 od 22 czerwca do 11 września (1845–1846) Józefa Ignacego Kraszewskiego oraz w eseju Jerzego Stempowskiego W dolinie Dniestru (1941). Najwięcej uwagi poświęcono rozmaitym formom przyległości obecnych w topografii brzegów Dniestru – środkowego w szkicu Hostowca oraz dolnego, otoczonego limanem, w dzienniku Kraszewskiego. Płynności języków używanych przez reprezentantów różnych grup etnicznych i warstw społecznych zamieszkujących oba brzegi Dniestru, a także wielości wyznań religijnych – tego dotyczy środkowa partia artykułu. W ogniwie trzecim postawiono tezę o próbach uchylenia dominacji historii przez obu pisarzy i wskazano na silną skłonność obu do operowania motywem ruiny. Sąsiedztwo pasjonuje zarówno pisarza dziewiętnasto-, jak i dwudziestowiecznego. Obaj twórcy osiągają także efekt przyległości i płynności w ramach kompozycji i stylu swoich wypowiedzi.

Analysing Julian Barnes’s postmodernist novel, Flaubert’s Parrot, this essay shows that the past is exposed as a story and a palimpsest. We demonstrate that in Julian Barnes’s novel, the past is rewritten as a story with various truths about Flaubert’s identity and biography. The past is presented through a series of symbols, being a palimpsestic construct open to our analysis and understanding. The concepts of historical truth, the past, the present, the writer’s voice are approached in a postmodernist manner and are nothing but a palimpsest.

A critique of Tony Blair’s collaboration with George W. Bush in the War on Terror, Robert Harris’s The Ghost (2007) goes beyond its topical subject by exploring the connections between ghostwriting and spectrality. The unnamed protagonist of Harris’s novel is a professional ghostwriter who, after being commissioned to revamp former Prime Minister Adam Lang’s memoirs, becomes enmeshed in various forms of spectrality. While isolated with his hosts in a fortress-like compound on Martha’s Vineyard during the island’s bleak off-season, the ghostwriter experiences the Uncanny firsthand. In the end he compiles a 160,000-word book, not realizing that with the project’s completion he is signing his own death warrant by writing a work about the pursuit of truth. The novel’s coda differs from that of Roman Polanski’s 2010 film adaptation, but Harris’s narrative captures the universality of literary Gothicism.

The research field of geopoetics as the theory of studying creative forms and ways of human interaction with the geographic space, the multidimensional concept shaped by the syncretic perception of reality, is expanding dynamically in the aspect of space interpretation and modeling. Such research prism facilitates addressing projective meanings of the modeled reality, studying geopoetic image as a cultural sign, process and result of aesthetic display and representation of reality. Taking into account the relevance of the problem, the authors of the article set a goal to investigate the semiotic triad of St. Petersburg, the emotional component of the axiological model and its semantic transformations: Petropol’ - Petrograd - Leningrad, that permits to present a multilateral description of geopoetic image modifications. The research logic is dictated by the fact that the conceptualization of space in its various manifestations is associated with the study of the territory as an object of aesthetic reflection. The study analyzes creative embodiment of a particular toponym in its dual rational and emotional essence as a fact of verbal art. Transformation and treatment of geopoetic image meanings of St. Petersburg based on the spheres of urban semiotics are analyzed in the aspect of giving new meanings and semantics to the place in the context of spatial and cultural historical relations and models. The authors argue that geopoetic image is a special representation of geographical space in its historical and cultural, value and semantic nature and fusion in their unity. The existing territory can be presented as a compact axiological model through the “prism” of socio-cultural values, signs and symbols. Actualization of the palimpsest concept based on the combination of textual layers, research of peculiarities of structural meaning modeling enable addressing the reconstruction of the semiotic system and variant semantics of “city mirror” texts.

Ezra Pound’s “Pisan Cantos” is a multi-layered palimpsest rewritten and written over previous editions several times, in which the non-translation of quotes, sayings and headlines becomes an aesthetically significant device. Younger branches of complex poetry after 1945, on the one hand, overcome Pound’s total project, on the other, inherit him through this ‘gap’. Within the framework of this article, the author explores how hermetic poetry (language writing, metarealism and generation of the 21st century) uses non-translation and untrans­latable to create/express political and ontological problems corresponding to this gap. So, in “Drafts” by Rachel Blau DuPlessis, palimpsest exposes the very deployment of language, writing, the ‘trace’ of other languages — all this develops together with the optics of studying writing and the loosening of the dominant hierarchies of poetic subjectivity and artistic form. In the poetry of metarealists Arkady Dragomoshchenko and Alexei Parshchikov, non-translation serves as a way of creating palimpsest marginalia, structuring the perception of interweaving images both through donor text and through the transformation of its motives. And the discommunicative palimpsest of Ekaterina Zakharkiv’s poem “Hiroo Onoda” is based on the unrepresentative function of the non-translation, when the collision of different lan­guages, quotes and references creates both difficulty in perception and communicative faults in the narrative fabric of the work. Thus, the article is an attempt to derive points on a con­tour map of poetic practices, showing both the formation of a way of inter-linguistic inte­rac­tion within the text that is different from multilingualism, and the ways of inheritance through the rupture of the complex and ambiguous nature of Ezra Pound’s “Cantos”, which gave rise not only to a new type of modernist epic, but also a special type of poetic palimpsest.

This article investigates the enduring chronopolitics of Historicism. To do so, I work through two dominant understandings of Historicism: the view that "historicism" is a means to account for the historian's own standpoint or historical situation as the place from which they take up and interpret the past, which I call Historicism A, and the separate (though now more popular) understanding of "historicism" that is derived from Karl Popper's The Poverty of Historicism, which I call Historicism B. I am less interested in what draws these varying definitions of Historicism apart and instead investigate a point of intersection in their understanding of time and temporality. Both strains serve politics via a concept of time as a neutral, uniform, and apolitical scale upon which any political or ideological agenda is enacted. Time here serves as the basis for historical explanation, but its neutrality, homogeneity, and extra‐historicality are a trick. I employ Gérard Genette's analytic of the palimpsest, with the help of Nancy Partner, to expose the ways that Historicism allows the past to be rewritten and overwritten to political and ideological ends that the temporal construct conceals. This then enables me to work through the politics of Historicism and ultimately deconstruct Historicist time, demonstrating how the universal or eternal claims of Enlightenment or pre‐Historicist thought are actually maintained in Historicism as the mechanism to advance political and ideological positions under the cloak of neutrality. In what follows, I make the temporal mechanism of Historicism explicit in order to expose the ethical failings that this mechanism conceals. [ABSTRACT FROM AUTHOR]

The Abrigo de la Quebrada is a Middle Palaeolithic rockshelter located in the Rambla de Ahíllas in the Iberian Range (Valencia, Spain). Archaeological work began in 2007 and was completed in 2015, reaching the rockshelter substratum and uncovering a record that spans from MIS 5 to MIS 4/3. The data from the geoarchaeological and micromorphological study of the site allow us to deduce that it was formed by alluvial contributions from the ephemeral stream, in different subenvironments varying from channel/bar to floodplain facies. These alternate with debris from different displacement processes depending on the unit, such as solifluction–gelifluction, mass displacement, and diffuse runoff. In addition, collapse episodes of the overhanging rockshelter roof influenced the pedological evolution of the record, with implications for the archaeological levels, especially in Unit G (Level IV). From a paleoenvironmental point of view, a more contrasted variability is reflected in the upper units of the site (MIS 4/3), especially in Unit G (Level IV), which, based on data, suggests temperate conditions, and in Unit H (Levels III and II) indicate cold conditions. In contrast, the lower units (MIS 5) are generally temperate, with the exception of Unit C (Level VIIIa), which reflects a colder phase. [ABSTRACT FROM AUTHOR]

This article offers a new edition of the LXX Joshua portion of Codex Climaci Rescriptus, an important, though somewhat neglected, Sinaitic Palimpsest. The edition is based on the post-processed multispectral images, produced by Early Manuscripts Electronic Library in cooperation with the Lazarus Project. The new technology has aided in correcting various errors in the editio princeps and uncovering hitherto unseen textual and paratextual elements. Moreover, the results of radiocarbon analysis have been factored into the dating of the fragment, resulting in a new proposal for its date of origin. [ABSTRACT FROM AUTHOR]

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