Francis Bacon (1909-1992)

Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular magazines, the tabloid press, posters and packaging. He was interested in reproductions of paintings by great masters. He used photographs by Muybridge. Photographs, treated by Bacon as tools, were later “worked on” by the artist, becoming the canvas for his paintings. The scenes he chose – often drastic, depicting rape and violence – were painted into his canvases, creating a deformed image of the world that “emerged” from the horrors of both world wars. He painted portraits based on his photographs of friends. These were usually people with whom the artist was emotionally connected. He painted self-portraits base on a series of photographs taken in automatic photography, from which he selected several to form the basis of his paintings. Real things and persons should exist in the fictional space assigned to them. By destroying literalism in painting, Bacon wanted to find the similarity desired in painting as its principal, so to rediscover realism. When painting a portrait, he tried to capture the appearance of the figure. After Francis Bacon’s death, his London studio (7, Reece Mews), restored by conservators, was “repeated” in the space of the Hugh Lane Gallery in Dublin. It contains about 7,500 objects, among them numerous photographs which had been torn up by the artist, photographs of his lovers and friends, black and white reproductions. The Bacon ‘archive’ collected in Dublin is now a silent hint of the creative process of the artist, who despite numerous studies devoted to him and recorded conversations, still remains one of the most inscrutable artists of the 20th century.

Improvising Improperly

Chapter 8 is attentive to the innovation that women writers from around the world are introducing into their work in French. It explores how certain books depict inappropriate behavior in inventive textual turns that are transgressive but also transformative, ultimately allowing for the complex formulation of truths that are so often elided in euphemistic writings. Many of the writers who have come to France have encountered prejudice in various forms that they address in their work. They portray racial discrimination and gender bias, and they contemplate the plight of migrants in Europe at a time of political change. Theatrical metaphors frequently emerge in the work of authors who describe encounters in performative terms, emphasizing how the script their characters are assigned appears to preclude all forms of improvisation. Despite the difficulties of this vocation, many women writers describe a compulsion to compose literary works, an irresistible pressure to take up the pen that propels them to write, even when their texts meet with criticism and misunderstandings. The role of generic categorizations often predetermines textual interpretations in ways that mirror the confining societal categorizations these authors represent in their writing. The fictional space of literary creations nonetheless allows for the creative staging of unacceptable actions in which characters from elsewhere who have experienced trauma effectively act out, demonstrating the pent-up frustration and releasing the tension that has accumulated in a setting where they are often not afforded the opportunity to express themselves verbally.

ANALYSIS OF FICTIONAL SPACES IN CINEMA FILMS ADAPTED FROM FANTASTIC LITERATURE IN TERMS OF SIMILARITY

The aim of this research is to analyze and reveal the fictional spaces of the movies called “Hobbit” adapted from fantastic English literature in terms of similarity. In this context, the concepts of space, interior and fictional space were examined and then all these concepts were discussed together with fantasy fiction. “Hobbit” literary work and movies, which are considered as an example of fantasy fiction genre, were examined and comparisons were made through the tables. As a result, it has been seen that there are intense overlaps between the book descriptions of the work and the movie locations in terms of similarity. Keywords: Fictional space, fantasy fiction, interior design, cinema, English Literature, adaptation

Locuire și spațiu în romanul românesc (1845-1947)

This article aims to investigate the depiction of living space(s) and architecture in the Romanian novel between 1844 and 1947. It has a descriptive dimension, discussing the construction of fictional worlds through a series of key-issues: a fascination with urban spaces (with the centralization/ provincialization of urban imagery), the function allowed to women vs. men in various social spheres (certain rooms, certain public fora), the disintegration of urban families, precarious living on the fringes of urban society etc. The authors map the occurrence of such new phenomena or spatial mutations, commenting on their historical context and scope (through statistical analysis). At the same time, there is a more reflexive, theoretical side to our research. Drawing on the work of theorists like Bertrand Westphal, Henri Lefebvre, Nirmal Puwar, and Habermas (to name but a few), this article asks many vital questions pertaining to geocriticism and sociocriticism alike: what is the difference between a place and fictional space; how can we define the public and the private sphere in the Romanian novel through issues like political participation and representation, exclusion, agency, and the right to leisure; how exactly do social norms and relationships contribute to the construction and the organisation of novelistic space?

Data-Driven Scenario Specification for AV–VRU Interactions at Urban Roundabouts

Detailed specifications of urban traffic from different perspectives and scales are crucial for understanding and predicting traffic situations from the view of an autonomous vehicle (AV). We suggest a data-driven specification scheme for maneuvers at different design elements of the built infrastructure and focus on urban roundabouts in Germany. Based on real observations, we define classes of maneuvers, interactions and driving strategies for cyclists, pedestrians and motorized vehicles and define a matrix for merging different maneuvers, resulting in more complex interactions. The sequences of these interactions, which partially consist of explicit communications, are extracted from real observations and adapted into microscopic traffic flow simulations. The simulated maneuver sequences are then visualized in 3D environments and experienced by bicycle simulator test subjects. Using trajectory segments (in fictional space) from two conducted simulator studies, we relate the recorded movement patterns of test subjects with observed cyclists in reality.

“Tudo é e não é” entre sertão e gerais rosianos / “Everything is and is not” between sertão and gerais rosianos

Resumo: Este artigo busca analisar as formas de tensões e distensões na relação significativa de aproximação e distanciamento entre o sertão e os gerais rosianos, a partir de Corpo de baile (1956). Nesse livro, composto por sete narrativas, o processo de elaboração do espaço ficcional surge de maneira difusa gerando especificidades que recolocam em discussão as representações do espaço que se estruturara por meio da impossibilidade de fixar limites entre eles. Discute-se o sertão como um sistema móvel, cenário central da obra rosiana, e seus desdobramentos em gerais e veredas, categorias fundamentais na construção da narrativa e nas delimitações das singularidades das personagens viajantes. Nos textos rosianos, a construção do espaço é colocada em constante processo de ressignificação e aparece como lugares que estão paradoxalmente dentro e fora do mapa. Com base nesta problematização, propõe-se investigar como se configuram as manifestações de semelhanças e diferenças nesses espaços polissêmicos. Palavras-chave: gerais; sertão; Corpo de baile.Abstract: This article seeks to analyze the forms of tensions and distensions in the significant relationship of approximation and detachment between the hinterland and the rosianos gerais, starting from Corpo de baile (1956). In this book, composed by seven narratives, the process of elaboration of the fictional space appears in a diffuse manner, generating specificities that replace the representations of the space that was structured through the impossibility of setting limits between them. We will discuss the hinterland as a mobile system, the central setting of rosiana work, and its deployment in gerais and paths, fundamental categories in the construction of the narrative and in the delimitations of the singularities of the traveling characters. In rosianos texts, the construction of space is placed in a constant process of resignification and appears as places that are paradoxically inside and outside the map. Based on this problematization, we propose to investigate how the manifestations of similarities and differences configure themselves in these polysemic spaces.Keywords: gerais; hinterland; Corpo de baile.

“I’ll just make sure we’re all on the same page”: Talking fictional worlds into being

This poster will present emerging results from a study of material and discursive information practices in tabletop roleplaying games. The focus will be on the ways in which players collaboratively construct and interact with the fictional worlds of play. A “big and small story” approach, influenced by the ethnomethodological methods of conversation analysis and membership categorization analysis, will be used to analyze the players’ talk as they intersubjectively create and sustain a fictional space of play.

Proximate historiographies in Jennifer Nansubuga Makumbi’s Kintu

Jennifer Nansubuga Makumbi’s novel Kintu (2014) places alongside forms of historical fiction familiar to European readers, a form of historical causality that obeys a different logic, namely, one governed by the long-term efficacity of a curse uttered in pre-colonial Buganda. The novel can be read as a historiographical experiment. It sets in a relationship of ‘proximity’ linear historical narration as understood within the framework of European historicism and the genre of the historical novel theorised by Lukács, and notions of magical ‘verbal-incantatory’ and ‘somatic’ history that elude the logic of hegemonic European historicism but nonetheless cohabit the same fictional space. Makumbi’s novel thus sketches an ‘entanglement’ of various historical temporalities that are articulated upon one another within the capacious realm of fiction, thereby reinforcing a cosmic ontology and axiology of reciprocity and fluid duality whose infringement in fact triggers the curse at the origin of the narrative.

Merging Fact, Fiction and Myth: Reading TD Ramakrishnan’s Sugandhi Enna Aandaal Devanayaki as a Historiographic Metafiction

TD Ramakrishnan’s novel Sugandhi Enna Aandaal Devanayaki is a mixture of the mythological, metaphysical and historical into a fictional space which transcends the boundaries of nation. The novel is a quest for retelling the historical trauma of Sreelanka. In the search for Sugandhi a Tamil liberation activist, the narrator stumbles upon the mythical Sugandhi from the folklore, creating tension between faction and reality. In the search for the mythical Sugandhi Ramakrishnan uses ‘SusinaSupina’ and arrives at Devanayaki belonging to 7th century AD Pallava Dynasty. As fact, fiction and myth blur into the contemporary social space, the myth of Devanayaki merges with Rajani Thirinagame creating the notion of the alternate history from a female perspective. In the novel History blurs into myth, reality into fiction, contemporary into past, individual into society and body into spirit.TD Ramakrishnan deconstructs the millennium old Tamil- Sinhalese political history using the alternate history from mythology and folklore. This paper is an attempt to read the novel Sugandhi Enna AandaalDevanayaki as a Historiographic metafiction.