Journal 2i: Identity and Intermediality Studies

Fact Sheet

2020-01-20T17:06:52+00:00

Editorial

2020-01-20T16:15:13+00:00

When body becames face

2020-01-29T10:20:42+00:00

What space can the portrait preserve in a structure that increasingly places such emphasis on the body? Would it be fair to say that the body, starting from the last decades of the twentieth century, has developed into such a despotic signifier that it now overshadows any form of artistic expression to the point of affecting the very practice of portraiture, daring to eclipse what was central to it, the image of the face? Based on the notion of visagéité (faciality), developed by Gilles Deleuze and Félix Guattari, and José Gil's contributions towards concepts such as “body-landscapes”, “face-landscapes” and “face-becoming”, this essay intends to reflect on a process called “transference of functionality”, to ponder how the body becomes a 'face'.

Intermediality

2020-01-20T15:40:25+00:00

Intermediality is based on the principle of dialogue between disciplinary fields, is linked to the cult of interdisciplinarity and the so-called conceptual integration theory (‘conceptual blending’; cf. Schneider & Hartner, 2012). In the framework of these interactional movements, the following aspects entailed by intermediality are highlighted: a dynamic and trans-semiotic conception of the narrative and the media discourses; the tendency to cross boundaries between languages; the refusal of a hierarchy that establishes priorities between cultural practices (such as literature is superior to cinema and cinema to television). The narrative with intermedial propensity develops a dynamic and transnarrative vocation that requests, on the receptive plane, a correlative dynamism of reading and analysis, with the resulting exegetical deepening.

Poetic (self)portraits in Herberto Helder's work

2020-01-20T15:42:06+00:00

Our intention is to analyze a series of poetic portraits sketched in the work of Portuguese poet Herberto Helder. Starting from the importance of the artistic genre often evoked in the work, we will try to show how the portrait goes beyond the clear references to the genre to configure one of the founding literary practices of the herbertian work. We propose to consider the work as a corpus constituted by a temporal assembly where the portrait appears as figurations of the authorial face.

The ruined portrait and the body that looks at us

2020-01-20T15:43:38+00:00

This article discusses Olympia, the painting by Édouard Manet, and its copy by Guilherme de Santa-Rita presented at the Academia de Belas-Artes exhibition inaugurated the 18th of March, 1911. I believe that Santa-Rita’s painting must occupy a significant place in art historiography in Portugal, namely the history of Portuguese modernism. The article emphasizes the reception of Olympia’s copy presented precisely the day before the 1911 Free Exhibition.

Santa-Rita’s copy, regrettably forgotten nowadays, questioned Portuguese painting and the portrait genre in particular, namely their relation with human body at the beginning of the 20th century, as well as the overwhelming hypocrisy of the whole society. To remember this painting is essential for the history of portrait art in Portugal.

Faceless books

2020-01-20T15:45:07+00:00

Leitura crítica das obras parque das ruínas, de Marília Garcia, e Manual do Condutor de Máquinas Sombrias, de Rui Pires Cabral (ambas de 2018), com vista a uma problematização dos modos e do valor do vínculo que em ambas se propõe entre a expressão verbal e a impressão fotográfica, muito em particular a de carácter retratístico.

The On self-image and contemporaneity

2020-01-20T15:28:18+00:00

In nowadays global times, artists have detached themselves from traditional media, such as Painting and Sculpture, and are now using diverse materials and plural mechanisms of expression. Everyday common objects are currently used in new spaces of artistic communication such as art markets, biennales and galleries, rather than museums.At present, artists are prioritizing public attention using photography, video, installations and performances. This occurs in a culture of the moment with no space for identity concerns or critical thinking and where the definition of work of artis fading.The author suggests a reflection on there lation between a painted self-portrait and a selfie.

Witnessing the History of a Massacre as Literary Theme and Strategy in the Graphic Novel 'Peterloo: Witnesses to a Massacre' (2019)

2020-01-20T15:57:33+00:00

This article analyses how the use of history, as an ideological and textual narrative, becomes a literary theme and strategy in the realist graphic novel Peterloo: Witnesses to a Massacre, published collectively in 2019 by the historian Robert Poole, author of the recent study Peterloo: The English Uprising (Oxford University Press), also based in 400 contemporary written testimonies, and by the artists Eva Schlunke and Polyp. We also study how the novel mainly consists of images fictionalized from historical sources and quotations of those same historic narratives which allow the reader to create the illusion of direct contact with the textualized past through the illustrations that also function as autonomous and alternative narratives.

A Man with moustache and glasses: Portraits of Rodó

2020-01-20T16:55:22+00:00

The image of José Enrique Rodó has its origin in the first portraits that his contemporaries made and which, with slight changes, has stayed up until today. The seriousness and aparent serenity of his figure, which is reflected in the photographic portraits, have their parallel in the classic and armonious style of his prose, in a way in which in no time a statuesque Rodó emerged, who only seemed to be overshadowed at the end of his life, according to his protrayers. This article covers the testimonies of his coetaneous and his main biographers to recreate a portrait of the Uruguayan writer, who is still partially hidden behind his moustache and glasses.

O Being, machine and the solitude

2020-01-20T16:59:55+00:00

This paper aims at analyzing the movie Her, directed and scripted by the American realizer Spike Jonze in 2013, considering to explore the relationship between society and technology proposed by the cinematographic work. In that respect, the solitude problematic of the individual and the conflict related to alterity stand out in the movie which are enhanced and mediated by the relationship of the man with technology, important themes to the contemporary society.

Uma nova narrativa para a Europa

2020-01-20T17:00:47+00:00

Eucanaã Ferraz. Retratos com Erro

2020-01-20T17:01:54+00:00

Rui Nunes. Suíte e Fúria.

2020-01-20T17:02:55+00:00