Mirror

Mirrors in a public restroom represent an esoteric facet of accessibility. Yet, looking at and through the restroom mirror from the perspective of visibility allows a critique of the ableist technicality of accessibility. In an effort to scrutinize disability rights in the context of everyday life, this article utilizes the restroom and its mirror as an extraordinary means that departs from mere technicality. First, I offer a new reading of the toilet as a crip space of sanctuary. Then I investigate the Israeli accessibility regulations that govern the restroom mirror. Based on close and creative reading of official state documents, I reflect on the marginality of the mirror within the regulations, its location and its size. Ultimately, I argue that oppression experienced in the flesh should be accounted for in disability rights and that the concept of accessibility should be further radicalized through the concept of crip design.

In this paper, I argue that perceptual media like air or water are imperceptible, in the sense that they are not directly discriminated by our senses. I show that, despite their lack of phenomenological features, perceptual media crucially affect what we see by selecting what is perceptually available to the perceiver.
In the second part of the paper, I argue that mirror is a visual medium like air, water and glass. According to this account, mirrors are transparent and invisible and cannot therefore have a distinctive look or appearance. In the last part of the paper, I extend the general account of perceptual media to the sense organs themselves by showing that perceptual media not only include external entities causally involved in the perceptual process but also comprise the perceptual system itself.

"Мимесис и рефлексия: огледалата в българското литературознание", -  Надмощие и приспособяване : Сборник доклади от Международната конференция на факултета по славянски филологии 24-25 април 2017г. : Т. 1-. състав. и ред. Диана Атанасова, Мария Калинова, Надежда Александрова, Красимира Алексова, Румяна Л. Станчева, и др.Т. 1. Литературоведски четения в чест на 80-годишнината на професор Никола Георгиев, София: Университетско издателство, 2018, 362-374.

The paper focuses on the mirror as a metaphor in the Bulgarian literary studies by means of which contradictory concepts of literature in terms of its mimetic activity crystallize. The term mimetic reflection was in circulation in the Soviet Union at that time as one of the key concepts of the dogmatic Marxist-Leninist aesthetics and especially of Todor Pavlov’s theory of reflection, in which literature is seen as a realistic reflection of reality. A detachment of reflection theory can be traced in the works of Nikola Georgiev. In his theoretical works the mirror functions as a metaphor for the intertextuality and self-reflexivity as the ability of the literature to refer to its own techniques, its own process of creation and its own fictional status. In such direction is read the mirror metaphor in the works of Kleo Protohristova and Miglena Nikolchina.

Keywords: mimesis, reflection, mirror, self-reflexivity, intertextuality
Мимесис и рефлексия: огледалата в българското литературознание

Докладът се спира на огледалото като метафора в българското литературознание, през което кристализират противоречиви концепции за литература с оглед на миметичната дейност. Догматичната маркситко-ленинистка естетика в лицето на Тодор Павлов налага клишето за литературата като отражение на действителността. Отталскването от това разбиране може да се проследи в работите на Никола Георгиев. При него огледалото функционира като метафора за саморефлексивносивната способност на литературата самa да посочва техниките за своята направа, да обсъжда похватите за конструирането на собственото си фикционалност. В този ключ могат да се четат и огледалните употреби в работите на Клео Протохристова и Миглена Николчина.

Ключови думи: мимесис, рефлексия, огледало, саморефлексия, междутекстовост

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

Mirror usage has been taken to indicate some degree of awareness in animals. Can pigs obtain information from a mirror? When put in a pen with a mirror in it, young pigs made movements while apparently looking at their image. After 5 hours spent with a mirror, the pigs were shown a familiar food bowl, visible in the mirror but hidden behind a solid barrier. Seven out of eight pigs found the food bowl in a mean of 23s by going away from the mirror and around the barrier. Naïve pigs shown the same, looked behind the mirror. The pigs were not locating the food bowl by odour, did not have a preference for the area where the food bowl was and did not go to that area when the food bowl was visible elsewhere. To use information from a mirror and find a food bowl, each pig must have observed features of its surroundings, remembered these and its own actions, deduced relationships among observed and remembered features and acted accordingly. This ability indicates assessment awareness in pigs. The results may have some effects on the design of housing conditions for pigs and may lead to better pig welfare.

Explores a transformation in the viewer’s understanding
of the subjectivity represented by the image of the artist in
Rembrandt Van Rijn’s Self-portrait with Two Circles (c. 1663–1669) at Kenwood House, Hampstead. Through an innovative intertemporal comparison with Max Beckmann’s superficially similar Self Portrait on Yellow Ground with Cigarette (circa 1923) it is shown how the transformation depends on the viewer’s deferred recognition of the sliver of reversed canvas cropped by the extreme right hand edge of Rembrandt’s painting. Once the edge of the canvas is noticed the
artist no longer appears to commune with the viewer but is
understood instead to be memorizing his own image in a mirror before turning to paint it. This transition from an enduring to an instrumental kind of self is then considered within the context of external and internal determinants of the painting: respectively, its intervention upon traditional representations of the artist and its analogy with the struggle between body and soul in Western philosophy and theology. In particular the imminent ‘swiveling’ of the
artist’s body away from communion with the viewer to self-depiction on the canvas enjoins the spectator to an act of disengagement that re-enacts the transition from a Platonic to a Cartesian alignment of body and soul. Disengagement involves empathy, however, so that the essay concludes by attempting to establish the case for interpreting the painting as a mirror image of an invented memory of the artist that shows him as art lovers might wish to see him. In this
way the dominant mimetic interpretation of the painting is qualified by one that admits memory and imagination. It entails a hypothesis that brings the external and internal determinants of the Kenwood portrait
together within the capacity of seventeenth-century self-portraits to encapsulate dialogue between viewers and their social world. The painting internalizes this world through symbolic representations of culture that mentor viewers into sharing the artist’s values.

A Roman relief mirror in Munich shows the scene with the highest known number of individuals of the whole genre. Within the scope of a detailed analysis an interpretation as the Pygmalion myth is suggested and a date for the mirror in the Augustan period is proposed for discussion. The Munich Mirror can be related to other metalwork of this period and proved to be a further example for the translation of mythological themes into the iconographic language of Augustan classicism.

“Mirrors, Masks and Skulls: For a Phenomenology of Portraiture” is a survey on allegorical portraiture in the history of Western art, from ancient to modern times. By the way, it is also an attempt at an identitarian reflection about the relationship between individual and collective – or cultural – "human being".

Die geisteswissenschaftliche Spiegelforschung richtete bislang ihr Forschungsinteresse offenkundig und maßgeblich auf die Subjekt- und Bewusstseinsbildung. In der vorliegenden Untersuchung stehen dagegen die künstlerischen und wissenschaftlichen Anwendungen von Spiegeln als Medien der visuellen Welterkenntnis im Zentrum des Interesses.  Die spiegelbezogene Motivik, Metaphorik und Modellbildung mussten aus denselben Gründen in ihre historischen Perspektiven gestellt werden, unter Ausklammerung ausführlicher Darstellungen literarischer Bezüge und tiefenpsychologischer Einsichten. Dadurch sind mediale und materielle Anwendungen von Spiegeln in den Vordergrund gerückt. Gleichwohl konnten in gebotener Knappheit auch methodologische Vorteile und Nachteile dieser Ausklammerung erörtert werden. Die Affinität von psychologischen, literatur- und bildwissenschaftlichen Ansätzen in der Spiegelforschung besteht in ihrem Grundverständnis vom Spiegel als bewusstseinsbildender Instanz. Daraus folgt auch ihr bevorzugtes Interesse an den Phänomenen, die im Rahmen so genannter Speichermedien ihren Ausdruck finden (Bild, Text).

Conta à lenda que, em um tempo imemorial, o rei Xangô, orixá escolhido por Oxalá para governar a terra e os outros deuses, tinha diversas esposas. As duas mais importantes eram Yansã, a Senhora das Tempestades, e Oxum, cujo domínio se estendia pelos rios, lagos e cachoeiras. Certo dia, enciumada da preferência de Xangô pela sua adversária; Yansã decidiu vingar-se de Oxum e, em um raio intempestivo de cólera, investiu contra a mãe das águas doces, quando esta se banhava nua às margens de um grande lago, tendo apenas um espelho entre as mãos. Devido ao fato de não ser uma guerreira, mas uma mulher dócil e vaidosa, afeita apenas aos expedientes da Sedução e da Dissimulação para se defender; Oxum viu-se completamente indefesa frente à ira arrebatadora da Rainha dos Raios. Oxum, então, rezou a Oxalá e, em um instante mágico, percebeu que o Sol brilhava forte nas costas de sua agressora. Rapidamente, ela utilizou seu espelho para refletir os raios solares de forma a cegar Yansã. Ao saber da vitória de Oxum, o rei Xangô reafirmou sua preferência pela Senhora das Águas, que além de mais bela e delicada, provou ser também mais poderosa que a Senhora das Tempestades.

Referring to the symbols and myths connected with a mirror, the author of this essay presents Polish translations of Brazilian and Uruguayan poetry and Brazilian translations of Polish poetry. Selected poems that refer to the mirror inspire multicultural reflection on the translation process, the meaning of the poetry and human condition .

Resumen:
Para hablar del secreto (damīr, rāz, serr) y lo paradójico, del lenguaje del misterio (ġeyb), Ḥāfeẓ emplea tres símbolos fundamentales de su poesía mística: el ojo, el velo y el espejo. El ojo (čašm, dīda) es el órgano sutil (laṭīfa) que une los dos mundos y el instrumento de percepción de la belleza del mundo, así como la «pupila (negra) del ojo» (mardom-e čašm) es la imagen, sobre el ojo-espejo del amante, de la negrura absoluta del lunar (jāl-e siyāh) del Amado que en él se mira. Asimismo, el velo (ḥeŷāb, parde) mediante el cual la Divinidad infinita permanece oculta en el acto mismo de su propia manifestación, es un velo sutil de luz que oculta los secretos pero sin el cual los secretos no pueden ser comprendidos. Finalmente, el espejo (mer’āt) es el propio corazón del gnóstico, en el cual Dios refleja Su belleza y Su gracia, y con el que el poeta participa en el juego de cubrimiento y develación de los «atributos» divinos (ṣefāt), al ser un espejo de la belleza. Tres imágenes que expresan la paradoja de la visión, pues ver lo invisible está reservado sólo al iniciado, al místico, a aquel que de su corazón (del) ha hecho un centro sutil (laṭīf), ojo interior o «penetración» (baṣīra) con el cual percibe el mundo invisible (‘ālam-e ġeyb). Su expresión en el arte contemporáneo la hallamos en el filme del cineasta iraní Majid Majidi (Teherán, 1959) titulado Bārān (Lluvia, 2001).

Abstract:
To speak of the secret (damīr, rāz, serr) and the paradoxical, of the language of mystery (ġeyb), Ḥāfeẓ uses three fundamental symbols of his mystical poetry: the eye, the veil and the mirror. The eye (čašm, dīda) is the subtle organ (laṭīfa) that unites the two worlds and the instrument of perception of the beauty of the world, as well as the «pupil (black) of the eye» (mardom-e čašm) is the image, on the mirror-eye of the lover, of the absolute blackness of the mole (jāl-e siyāh) of the Beloved who looks at him. Likewise, the veil (ḥiŷāb, parde) by means of which the infinite Divinity remains hidden in the very act of its own manifestation, is a subtle veil of light that hides the secrets but without which the secrets cannot be understood. Finally, the mirror (mer’āt) is the Gnostic’s own heart, in which God reflects His beauty and His grace, and with which the poet participates in the game of covering and unveiling the divine «attributes» (ṣefāt), being a mirror of beauty. Three images that express the paradox of vision, because seeing the invisible is reserved only for the initiate, the mystic, the one who has made a subtle center (laṭīf) of his heart (del), inner eye or «penetration» (baṣīra) with which he perceives the invisible world (‘ālam-e ġeyb). Its expression in contemporary art is found in the film by the Iranian filmmaker Majid Majidi (Tehran, 1959) entitled Bārān (Lluvia, 2001).

Les conduites spéculaires des démences avancées sont : le signe du miroir d’Abely et Delmas où le patient fixe son visage et s’arrange (comportement de dépendance à l’environnement de Lhermitte) ; la non-reconnaissance de soi dans le miroir (autoprosopagnosie et/ou délire des sosies de soi-même, auto- Capgras) ; l’agnosie du miroir de Ramachandran et Binkofski où le sujet ne comprend plus le concept de miroir et son fonctionnement; le réflexe psychovisuel : poursuite oculaire réflexe lors de la mobilisation passive d’un miroir en face du patient (vision préservée) ; l’écriture en miroir (apprentissage procédural). Nous décrivons quatre patients déments avec des conduites spéculaires interrogeant les réseaux cérébraux de la reconnaissance de soi, du cerveau social et de la manipulation mentale visuospatiale de l’image et de l’objet.

Self-creation action is one of the most fundamental purposes of selfie photography. In History, many people tried to express and to demonstrate themselves with the aim of leaving traces for the future through the process which reaches to wars, agreements and several economical, socio-cultural and sexual worlds. This afformentioned effort of human being has different cultural dimensions and psychanalytical consideration.

Psychanalytical source of selfie’s self-creation action could be “objet petit a’’ according to the Lacanian perspective. In this context, individual self-expression is evaluated by related Lacan’s Theory and then by self-portrait notion because selfie represents always a peculiar vision and an artistic process that has psychanalytical dimension.

In its mythological origins, selfie has many aspects from archetype of subject to individual-space-objet relations. On the other hand selfie obtained an aesthetic quality feeding by self-portrait tradition by the time. Contemporary global cultural conditions are very efficient on Lacanian technological transformation of selfie in remarkable way.

Finally, self-creation action of human being will become more powerful by using technological devices like selfie, in the future as in the past.

Key Words: Selfie, Lacan, Self-portrait, Objet petit a, Jouissance.

This study discusses the changing ways of seeing in the visual culture from the
traditional period to the digital age through self-portraits which were once painted with
brushes, later taken with cameras and finally, taken with smartphones. With this aim, the
ways of seeing and habits inherited from the European oil painting tradition will be presented.
Selfie taken with smartphones is referred to as “digital object” or “new self-portrait” in
some sources as the word ‘selfie’ is derived from ‘self-portrait’. Selfie is a widely used phototaking
technique in Turkey and all around the world. In parallel with the rapidly developing
and wide-spreading technology, it is undoubtedly the most popular form of photography
among the young and the old alike.
This “new self-portrait” of today traces its roots back to the European oil painting tradition.
The study presents a historical journey starting with a number of traditional oil paintings in
which the artists reflected their self-portraits and continuing with the significant self-portrait
photographs produced with the invention of photography, and finally moving towards the
selfies taken with smartphones. This journey will show that mirrors had once been the helping
device for the artists; and that today, with the developing technology, the front-facing
cameras of the smartphones have turned into mirrors.
The study will reveal the similarities and the differences between the traditional selfportraits
and the new self-portraits of today in terms of ways of seeing.

ABSTRACT (it) & (en)
Questo articolo fornisce il primo Statuto di Architettura e Museologia liquida facendo seguito al primo tentativo di definizione da me proposto nel 2014.
Prendo atto che presso il grande pubblico e particolarmente in Italia il concetto di liquidità è stato completamente frainteso mentre in ambito critico internazionale è stato invece correttamente svolto e ha potuto affermare propria incisiva presenza nello spazio della cultura d’avanguardia. Come noto infatti Marcus Novak propone nel 1993 il termine Architettura Liquida in relazione alla realtà virtuale nell’era dell’informazione telematica e Zygmunt Bauman applica il concetto di liquidità nel 2000 nella sfera sociologica sondando i rapporti tra architettura e territorio mentre Salvatore Rugino propone una rassegna dei rapporti tra architettura e liquidità nel 2008 e altri autori seguono su questo corretto filone esegetico.

Per approfondire la definizione critica internazionale di architettura e museologia liquida ho proposto nel 2014 di considerare il concetto di “liquido” nell’arte come erede del concetto di anticlassico già individuato da Giulio Carlo Argan, prima nel 1930, in riferimento alle osservazioni di Milizia nei confronti di Andrea Palladio, e poi nel 1984 seguito da Bruno Zevi nella sua monografia del 1973.

In seguito alla creazione, sempre nel 2014, di un Gruppo di Ricerca alla Sapienza su Architettura e Museologia liquida mi è sembrato importante proporre in questa sede di considerare fondamentale per l’individuazione dei caratteri liquidi nell’architettura e nella museologia quattro elementi tipologico-simbolici fondamentali: specchio, labirinto, frattali e mostro e ribadisco che la concezione di “anticlassico”, dalla quale nasce negli anni Novanta del Novecento quella di “liquido”, è presente anche in ambito archeologico come proposto da Graziella Becatti e dimostrato da Enrico Ascalone, entrambi facenti parte del Gruppo di Ricerca della Sapienza su Architettura Liquida. Cfr. E. Ascalone, L’anticlassico che diventa classico. Sostituzione, elaborazione e affermazione di nuovi codici di propaganda al tempo dei Sukkalmakh (ca. 1900-1520 a.C.), 8 Novembre 2016, n. 821 http://www.bta.it/txt/a0/08/bta00821.html


This article provides the first Statute of Architecture and Museology liquid further to the first attempt at definition proposed by me in 2014.
I note that among the general audience and especially in Italy, the concept of liquidity has been completely misunderstood while in international areas has been properly carried out and instead was able to affirm its effective presence in space of the avant-garde culture.

As previously noted, Marcus Novak proposes in 1993 the term liquid architecture in relation to virtual reality, in the telematic information era, and Zygmunt Bauman applies the concept of liquidity in 2000 in the sociological sphere probing the relationship between architecture and landscape.
Salvatore Rugino, instead, offers an overview of the relationship between architecture and liquidity in 2008 and other authors followed his correct exegetical trend.

To study the critics international definition of liquid architecture and museology, I proposed in 2014 to consider the concept of "liquid" in art like a heir to the concept of anti-classic, identified by Giulio Carlo Argan, first in 1930, in reference to the comments of the Militia against Andrea Palladio, and then in 1984, followed by Bruno Zevi in ​​his monograph of 1973.

In 2014, a research group of Sapienza University started the study of Architecture and Museology liquid, and it seemed important to me to propose to start to consider, for the identification of liquids characters in architecture and museology, four basic typological and symbolic elements: mirror, maze, fractals and monster.
Besides, I remind that the "anti-classical" concept, from which was born in the nineties of the twentieth century that of "liquid", is also known in archeology, as Graziella Becatti proposed, and Enrico ascalone demonstrated.
They are two of the researchers in the Sapienza University liquid architecture study group. Cfr. E. Ascalone, The anticlassical that becomes classic. Substitution, development and affirmation of new propaganda codes at the time of Sukkalmakh (approximately 1900-1520 a.C.), 8th November 2016, n. 821 http://www.bta.it/txt/a0/08/bta00821.html

(English translation courtesy of Alessandra Bertuzzi)

This research addresses the ‘Selfie’ as a significant phenomenon of contemporary photography, its unique methods of production and distribution, as well as the possible motivations driving this particular genre of the (amateur) self-portrait. I will argue that the Selfie happens at the crossroads between performance, narcissism, social tick, an intrinsic desire for self-projection and a possibly irrational quest for authenticity in the contemporary photographic image, and that its ubiquity cannot help but change the idea of the photograph as we know it.

Es hacia 1964 cuando los artistas comienzan a utilizar el espejo en sus instalaciones para repensar por un lado las relaciones entre el arte y la realidad y, por otro, las relaciones entre el yo y su imagen. A través del reflejo se adentran en las complejas aguas narcisistas de la construcción de la identidad, coincidiendo así con las preocupaciones que en el campo de la teoría del arte se desarrollan a través de los trabajos de Foucault –con su idea del espejo como no-lugar– y Lacan –a propósito de la formación del yo. La mirada que emerge en relación al papel que juega el espejo en estas instalaciones artísticas es paradójica: en unos casos nos remite a un mundo dual, donde el sujeto se diferencia de su imagen y entorno. En otros, esta mirada que corta en dos la realidad, queda superada por la “mirada desdiferenciada” que alienta una percepción sistémica y holística del mundo cancelando una percepción excesivamente antropocéntrica.

In 2005–2016, a metal detector was used to obtain an assemblage of La Tène metal artefacts in the geomor-phologically defined region of Malá Haná on the border of eastern Bohemia and southwestern Moravia. The artefacts establish that settlement of the area began at the latest in LT B2. Occupying a prominent position among finds of local provenance are artefacts connected to the industrial and trade centre in Němčice nad Hanou. A 'Kronenhalsring' (crown-shaped neck-ring) comes from the environment of the Jastorf culture. A cast bronze fibula and spear butt made according to a Greek model are of southeastern origin.

Chapter from this prize-winning book. The medieval obsession with the magic, science and symbolism of mirrors was the catalyst for the production of self-portraits rather than the invention of crystal glass mirrors in c.1460. Includes detailed discussion of mirrors, Dante and Giotto, Van Eyck's Arnolfini portrait,  Alberti and Narcissus

With the advance of science, the concept of " the self " as some kind of separate Cartesian entity appears increasingly implausible. Nevertheless, it is hard to dismiss the intuition that an entity which can be classified as " the self " does indeed exist, independent of the body (the dualistic stance). This paper argues that the self-body separation is enhanced by two phenomena: inner talk and self-reflections (e.g., in mirrors). In both cases there is a fundamental split between the self-as-subject and the self-as-object. Furthermore, both of these phenomena allow us to gain a third-person perspective (3PP) upon ourselves. As a result, it becomes almost impossible for one give up this 3PP and return to the primitive experience of the first-person perspective (1PP).

В 2017 г. у с. Глиное Слободзейского района на левобережье Нижнего Днестра был исследован курган 116 скифского могильника III—II вв. до н. э. Под насыпью, окружённой кольцевым рвом с двумя разрывами, изучены два захоронения в катакомбах. В северной погребальной камере основного погребения 116/1 было совершено парное детское погребение, которое сопровождалось неординарным инвентарём — трёхъярусной гривной, парой золотых серёг, серебряным ноговитковым браслетом, двумя поясными бляхами с изображениями мужских лиц, бронзовым зеркалом с железной ручкой в футляре, двумя конусовидными и двумя плоскими трапециевидными подвесками, а также множеством составных украшений из бусин. В восточной погребальной камере этой катакомбы было устроено деревянное гробовище для захоронения мужчины — знатного воина. Помимо представительного набора вооружения, украшений и лепной миски, на костяке были найдены три фибулы. Во впускном погребении 116/2 также был погребён воин, возле которого лежала пара длинных боевых ножей. Курган 116 на основании фибул раннелатенской конструкции и фрагментов гераклейской амфоры изо рва датируется третьей четвертью III в. до н. э.
In 2017, barrow 116 of the Scythian cemetery of the 3rd—2nd centuries BC near Glinoe village, Slobodzeya district, on the left bank of the Lower Dniester Region was investigated. Two burials in the catacombs were studied under the mound, surrounded by a ring ditch with two ruptures. A paired children's burial was made in the northern burial chamber of the main grave 116/1, accompanied by an unusual inventory — a three-tiered torque, a pair of gold earrings, a silver multi-turned bracelet, two belt buckles with images of men's faces, a bronze mirror with an iron handle in a sheath, two conical and two flat trapezoidal pendants, as well as a bunch of composite adornments from beads. Wooden coffin was built to bury a man — a noble warrior in the eastern burial chamber of this catacomb. Three fibulae were found on the skeleton in addition to a representative set of weapons, adornments and a hand-made bowl. Also a warrior was buried in the secondary grave 116/2, a pair of long fighting knives lay near the body. Barrow 116 dates back to the third quarter of the 3rd century BC on the basis of the fibulae of the Early La-Tene construction and fragments of Heraclean amphora from the ditch.

The paper focuses on the mirror as a metaphor in the Marxist and structuralist paradigm by means of which contradictory concepts of literature in terms of its mimetic activity crystallize. The term mimetic reflection was in circulation in the Soviet Union at that time as one of the key concepts of the dogmatic Marxist-Leninist aesthetics and especially of Todor Pavlov’s theory of reflection, in which literature is seen as an authentic reflection of reality. A detachment of reflection theory can be traced in the works of Lotman and Kristeva. In their theoretical works the mirror functions as a metaphor for intertextuality, and self-reflexivity as the ability of literature to refer to its own techniques, its own process of creation and its own fictional status. Thus, the article outlines two mimetic types: authentic mimesis, represented by Pavlov’s theory, and on the other side, heterogeneous creative mimesis, developed by Lotman’s text within a text structure and Kristeva’s genotext in merging Jakobson and Bakhtin’s legacy.
Аутентичный и гетерогенный мимесис: отражение и авторефлексивность у Т. Павлова и Ю. Лотмана

The paper explores the divergent concepts of mimesis in the works of Bulgarian orthodox Marxist philosopher Todor Pavlov and Yuri Lotman, founder of the Tartu-Moscow Semiotic School. With his Theory of Reflection, completed in Moscow in 1936 as an elaboration of Lenin’s ideas of knowledge, Pavlov became one of the major proponents of the understanding of mimesis as reflection, which for decades defined the dogmatic Marxist-Leninist aesthetics in Eastern Europe. Beginning with the 1960s, Lotman’s conceptualization of dual code structures begins to work in the direction of reloading the mimetic theory beyond the official discourse. Lotman explicitly states that his methodological wager is an attempt to join the formal-structural paradigm of Roman Jacobson and the contextual-dialogical paradigm of Mikhail Bakhtin, which makes his position a synthesis of the two schools that challenged the theory of reflection dogma.

Following its announcement as word of the year in 2013, the selfie became an object of considerable academic attention. Within this rapidly growing discourse, several researchers such as Katie Warfield and Katrin Tiidenberg have argued that the selfie – an image of oneself, captured by oneself and shared through social media on a mobile device (or smart phone) – is at once two things: a photograph and a mirror. The contention presented argues that the photograph is a fiction that is posed, socially mediated and constructed by cultural context, while the mirror instead reflects the truth of what is placed before it. Therefore, this mirror effects the “relationship between technology and self as if this assemblage is causing more self-reflection [and] analysis” on the part of the user. As Warfield says “selfies… are not photos of disembodied objects, rather selfies… are photos of embodied subjects” (Warfield, 2014). However, I argue that such expositions are unsatisfactory as they do not account for the social and socialised context of looking into a mirror. I am following Anna Mudde here, who argues that “mirrors do not do what we have learned to think they do, and rather than being tools of private, direct, and clear self-access to a free and self-constituted self, they are better understood as complexly socially mediated, with their use being social all the way down” (Mudde, 2015, p. 540). I want to re-examine the relationship between posing before a camera and posing before a mirror – and the accepted binary presented by these two gestures. Following this, I want to talk about the mirror’s various histories, what it is and what we think it is – and what this can tell us about the selfie. I will be referencing Anna Mudde and Donna Haraway’s conception of the learned ways of seeing to do this.

Within the thriving production of Etruscan bronze mirrors, it has been possible to identify a small group that, in our opinion, is particularly influenced by Attic red-figure pottery. These mirrors are decorated with complex mythological scenes and have a specific feature: a figured border. This case study attempts to analyze whether or not this decoration reflects the Etruscan conception of the cosmos (Sky, Earth, Ocean/Underworld). Furthermore, it aims to highlight how this phenomenon concerns not only the iconography, but also the structure itself of the decoration. It is a matter of great interest that also involves, for obvious reasons, the organization of the Etruscan bronze workshops.

The image motifs of Andrei Tarkovsky explicate the basic characteristics of his film aesthetics. Tarkovsky regards filmic image-mise en scène in general-as sculpting in time, that differentiates itself from the narrative continuity of the conventional montage of scene compositions and their sequences and consequently emerges as unique and autonomous time images. The sculpting in time refers to the embodiment of time, which should liberate the embodied existence in its temporality from a transcendental notion of time. However, the embodiment of time as temporality also applies to the transcendental time consciousness, although it is viewed in the traditional philosophical context as an inner and incorporeal form of consciousness. Tarkovsky's image motifs aesthetically realize a previously unknown form or morphosis of the existence of human beings and the world of objects within the framework of a prevailing transcendentalism. In his polemic against the montage cinema of Eisenstein, Tarkovsky opposes the transcendental temporalisation of the temporality of natural and domestic objects, living beings as well as human existence in both filming and editing processes. In the following treatise I am trying to show how the transcendental temporalisation and the existential temporality-despite their film-aesthetic dichotomization or polarization by Tarkovsky-bring about a dialectics between the transcendental and the embodied self. Some of the main features of Tarkovsky's image motifs, as depicted in aesthetic and film-technical mise en scène, such as slow motion, objects left over in the narrative continuity, overcoming of gravity and inertia, representation of the 'life' of natural and domestic objects, persistence of ruins, synthesis of music, poetry and painting in scene compositions, abysses, agile landscapes, untrodden zones, motifs of the materialisation of deep inner images and memories as well as the resurrection of the dead. In the portrayal of human figures, this dialectics shows itself in a diremption between an inescapable transcendental consciousness and the embodiment of the self, which-in its spatiality and temporality-belongs to the domain of all 'given' objects in the world. In his image motifs, the iconic retention of time which characterizes the temporality of the existence of objects and human beings-both in their givenness and their persistence as objects left behind-indicates the freedom of embodiment in their own temporality, as Tarkovsky observes in his seminal work 'Sculpting in Time.' However, this 'freedom in time' or in the temporality of the embodied self never remains free or unaffected by the inner-dialectical division between the transcendental self-consciousness and the embodied self, as this dialectics clearly surfaces in the portrayal of the intellectual protagonists in his films.