Aesthetic Devices Research Articles

Character: Three Inquiries in Literary StudiesCharacter as Form

Character: Three Inquiries in Literary StudiesCharacter as Form

Teacherly aesthetics: Literature and literacy in Binyavanga Wainaina’s works

In this paper I use the concept of teacherliness to explore the connections between literature and education in Binyavanga Wainaina’s memoir One Day I Will Write About This Place and his opinion pieces on education. I read Wainaina’s texts against the way the literature/literacy duality has been envisioned in historical discourses, arguing that deeper pedagogical questions were largely overlooked in the intersections between the two theoretical fields. To address this lacuna, I use Paulo Freire’s theory of Critical Pedagogy to analyze historical debates of curriculum and canonization, as well as Wainaina’s more recent engagement with the Kenyan educational system, in which questions on how to write are intertwined with thoughts on how to teach. After detailing this history of literature and literacy in East Africa, I explore the themes and aesthetic devices that Wainaina develops in One Day to reflect on his own role as an educator in the context of his troubled relationship with his own schooling. By focusing on the theme of failure and Wainaina’s embedding of oral structures into his text, I suggest Wainaina’s work offers insights and concrete narrative patterns that might become fruitful tools through which educational theory and literary analysis might illuminate each other’s blind spots, specifically in regard to oral skills in education.

Telling refugees’ stories: Testimony and hospitality in graphic novel L’Odyssée d’Hakim by Fabien Toulmé

Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.

Naiá e a Lua (2010): lendas indígenas sob os holofotes da narrativa

This article aims to discuss the composition of narratology in the award-winning Brazilian short film (12 minutes and 45 secunds) Naiá and the Moon (2010) under the direction of Leandro Tadashi. This work is linked to interinstitutional research Art, psychoanalysis and education: aesthetic procedures in cinema and the changes of childhood CEPAE / UFG / PUCGO / UEG / UAB-UNB / UEMS, which seeks to highlight the potentialities of the relations between cinema and education. The proposed film analysis will reveal the narrative functioning of the intersection of two indigenous legends that the short film contains, since it projects for the viewer a story within the story, the passionate narration of the legend of the appearance of the stars (relationship between Jaci and the Indians of tribe) with the ultimate construction of the legend of Vitória-Régia and its origin. Still, the place of childhood, the dreamlike quality of the narrative and the components of the diegetic world will be treated: characters - in this case, the central narrator and the protagonist child, Naiá, gain centrality; the spaces; temporality; the voice of the film; the spectator, narrator and narrative relationship based on the aesthetic devices used - photography, chosen soundtrack, the mix between live-action and animation - that make the film so touching and loaded with a symbolic-cultural charge. Gardies (2008) e Tarkovski (1998) will be fundamental references to support the discussion, alongside authors such as Benjamim (1994) and Adorno (2008).

Subtitling into ELF. When accessibility becomes a counter information tool

This study investigates the modalities by means of which the visual arts have recently been transformed by migration, and how aesthetic transformations within the context of (sub)titling have contributed to re-shaping identities and minority groups in filmic genres. The growing interest in migratory aesthetics has brought into representation marginalised subjectivities (i.e. the lives of Italians forced to emigrate from Libya after the Gadhafi coup d’etat as the case in point in this work) in ways that depart from migrant depictions in the conventional media (e.g. the news bulletins). Against the backdrop of translation as a form of re-narration and an instrument of accessibility, and drawing on Systemic Functional Linguistics as a method of survey, this study examines the (sub)titling activity in English lingua franca in what may be referred to as “accented cinema”, namely the documentary film My Home, in Libya (2018) directed by Italian filmmaker Martina Melilli. Creativity and experimentation are central to this work of art, also thanks to the use of (sub)titling procedures employed as aesthetic and linguistic devices that go beyond translation proper while covering the filmic narrative areas in terms of authorial titling and diegetic interventions. Against the normative background of subtitles in English lingua franca , (sub)titling is perceived as a practice that encourages the mediation of migrant and marginalised stories, and as a space of re-narration where screen textualities like pieces of (sub)titles give voice to characters’ inaudible thoughts.

M. YU. LERMONTOV’S POEM SVIDANIE (1841): TEXTUAL HISTORY, ARCHITECTONICS, MEANING

The article discusses the formation of the poetics of the 1841 poem by M. Yu. Lermontov’s Svidanie (Rendez-vous) from first to final draft. The reconstruction of the creative history of the text allows us to imagine the peculiarities of M. Yu. Lermontov’s reasoning, his path to the creation of artistic reality in its spatial and objective design. Landscape details, visual plans, and the image of the lyrical hero change in the creative process. The novelty of research has a factual (for the first time the process of creating a poem is presented in as much detail as possible) and interpretative character, associated with the clarification of Lermontov’s poetics and worldview. The poem is interpreted as a contamination of reality, dream and transitional states, with particular attention paid to the poetics of dreams. The incompleteness of the text is presented as an aesthetic device for the reliable portrayal of the sleep phenomenon. The poem is understood as an aesthetically and metaphysically integral text, in which the author manifests himself as a person with knowledge and experience of spiritual life.

Reframing sovereignty for the anthropocene

ABSTRACT Writing on sovereignty has failed to address the challenges associated with planetary climatic change. As debates about the nature of sovereignty return to the fore, there remains little attention paid to how our newly unstable environmental conditions might call for sovereignty to be imagined anew. Drawing on Neil Walker’s account of the ‘sovereignty frame’–as a means of understanding the enduring relevance of sovereignty for contemporary law and politics – this article understands sovereignty as an aesthetic device which constitutively inures political subjects to the ecological forces and relations central to the climate crisis and the broader challenges associated with the Anthropocene. In taking up the task of reframing sovereignty in a way that properly attends to these issues, this article introduces how sovereignty’s spaces, subjects and modes of governance might be reimagined in light of the Anthropocene thesis and the various disruptions it heralds for social life.

Of Fairy Tales: The Reparative Fantasy in Christina Rossetti’s “Goblin Market”

With the heated debate on the utility of the humanities as a context, this paper reads Rossetti’s “Goblin Market” as an attempt to reconcile the emerging functional attitude towards the humanities and the susceptibility of the humanities to the neo-liberal condition. This paper traces connections between the “reparative” or the “post-critical” turn and fairy tales or fantasies in order to argue that Christina Rossetti’s much debated poem, “Goblin Market,” could be framed in a fantastic framework that substantiates a reparative orientation that is “additive and accretive” (Sedgwick, Touching Feeling 149). A stubborn insistence on the hermeneutics of suspicion has informed much of the readings of the “Goblin Market,” especially the haunted market, as “kinda subversive, kinda hegemonic” (Sedgwick, Queer Performativity 15). I aim to provide a different approach given that recent scholarship on “Goblin Market” ignores the possibility of reparation. In this paper, I attempt to withhold suspicion in order to hone caring eyes to uncritical materials that are often deemed untenable to politicized life. I reparatively read the female participation in the market that resuscitates a full female identity and the “muted” ending that is often subjected to paranoid readings. Locating “Goblin Market” in a fantastic framework, I argue, helps us to see the actual world and it helps us visualize a fantastic world that brings out an ethical efflorescence that entertains human experience in its plenitude. This essay also argues that “Goblin Market,” partakes in “a new wave of innovative fairy tales” (Zipes 98) that gained ascendancy in the latter half of the nineteenth century and this serves as an affective archive to document long marginalized figures and feelings. I also argue that Rosetti’s poem invites thoughts on how aesthetic devices sustain and reproduce selves that ripple off from real-life experiences in a fantastic interruption of spatiality and temporality.

ARE YOU SERIOUS? ANALYSING EXAGGERATION IN RICHARD AYRES'SNO. 37B

ABSTRACTExaggeration as a deliberate aesthetic device has seen increased popularity with composers working in the western art music tradition in the last few decades. Their music promotes a feeling of excessiveness as an intentional compositional effect, worthy of being taken seriously. This would seem to encourage the development of analytical techniques for understanding how it works, but almost by definition exaggeration tends to be resistant to analysis, its transgressive, anti-rational character appearing incompatible with the systematic approaches associated with this discipline. This article analyses the forms of exaggeration employed in Richard Ayres's orchestral pieceNo. 37b(2006) and the techniques used to achieve them, developing a framework for how we might attempt to analyse exaggeration in a manner that is rigorous but sensitive to the nature of musical exaggeration. The article finishes by making the case for how exaggeration can be interpreted as sincere as well as ironic and why deliberate exaggeration has become an appropriate and attractive device for composers in the last few decades

Theorizing the Social Through Literary Fiction: For a New Sociology of Literature

When analyzing literary fiction, most cultural sociologists still accept the well-established boundaries between the literary and the sociological, thus leaving literature stripped of its aesthetic qualities. Instead, I propose a new approach that focuses on the process of meaning-making as it occurs within the interaction between the reader and the novel in a given socio-historical setting. This allows analysts to capture those aspects of understanding social experience which are usually ‘lost in translation’ between fictional and sociological genres. My major claims are that, first, when referring to social experience, both sociological and literary texts employ aesthetic devices to mediate understanding for the reader. Second, within the literary genre, the understanding of social experience relies much more on the emotional engagement of the reader through a reading process facilitated by these aesthetic devices. Third, to benefit methodologically and epistemologically from the lyrical understanding of social experience mediated by literature, cultural sociologists must be particularly sensitive to the subtlety and ambiguity of meanings mediated by the aesthetic. The methodological advantage gained is the analysis of deeper cultural meanings grounded in, yet also going beyond, an emotionally and existentially experienced social reality, which is intersubjectively shared and filtered by various groups of readers and cultural intermediaries. The epistemological advantage gained by overcoming the assumed inferiority of literature is that cultural sociological research unlocks a whole new area for understanding the meanings of social life, especially its non-discursive dimensions. The research model I propose for a new sociology of literature adopts the landscape of meaning concept developed by Isaac Reed in combination with the aesthetic structuralism of Czech linguist Jan Mukařovský. This model will be demonstrated through an interpretive analysis of the Czech novel Sestra (published in English as City Sister Silver) by Jáchym Topol.

El diálogo intertextual entre Las Argonáuticas de Apolonio de Rodas y las epopeyas homéricas

Apolonio de Rodas fue uno de los principales representantes de la poesía griega del período helenístico. En su única obra conservada, Las Argonáuticas, este autor estableció un significativo diálogo con la tradición literaria anterior, especialmente con las epopeyas homéricas. Debido a la desatención que durante mucho tiempo existió con respecto a la literatura helenística, así como a la ausencia de un estudio integrador acerca de la obra de Apolonio en relación con sus antecedentes épicos, este trabajo se propuso realizar un análisis de la intertextualidad (particularmente la hipertextualidad) entre Las Argonáuticas y los poemas de Homero. Los aspectos examinados permitieron concluir que el poeta helenístico conjugó en su epopeya elementos de tradición y de innovación, y estableció un creativo diálogo intertextual con el antiguo aedo, pues a la vez que asimiló magistralmente los principales recursos y motivos de la épica tradicional, incorporó características estéticas propias de su tiempo.

It’s (Not) All Good, Man:Better Call Sauland the Nostalgic Reconstruction of an Ever-Longing Character

AbstractConstantly faced with the lives they cannot lead, Saul Goodman’s alter-egos in Better Call Saul, Jimmy and Gene, are defined by a longing, a nostalgic desire for past identities displayed as recursive through the different periods of his life. Nonetheless, character construction is not the only locus of nostalgia within the universe of Better Call Saul: its condition as an audiovisual multiplicity (being a spin-off and a prequel) entails a nostalgia of its own towards the narrative and aesthetic devices of the Breaking Bad series, from which it stems. Thus, through character and narrative analysis, this essay will ascertain the resources behind Better Call Saul’s configuration as a series that establishes a dialogue with memories of diegetic and televisual pasts.

“She is Transforming:” Inuit Artworks Reflect a Cultural Response to Arctic Sea Ice and Climate Change

Seven Inuit artists reflect their lived experience of disappearing sea ice and climate change in their artworks. Living in Pangnirtung and Cape Dorset, Nunavut, for five months in 2013 and one month in 2015 enabled me to build relationships with artists and to initiate collaborations for this project. I examine how the artworks and artists use symbolism, metaphor, and other aesthetic devices to convey messages about their lived experience of sea ice and climate change. Stories told by artists about their artworks emphasize the importance of adaptation and interconnectedness and embrace themes about transformation and renewal. The insights provided by the artists participating in this research are crucial in the context of bridging knowledge systems to enhance our understanding of and potential responses to environmental change. Connecting with the intangible aspects of knowledge systems, such as emotional response, values, and identity, is an ongoing challenge; yet, accounting for these aspects of knowledge is a critical component of salient and legitimate environmental governance. Artists and their artworks can illuminate the less tangible aspects of knowledge about change and hence have an important role to play at the interface of diverse knowledge systems.

Manifestations of Nature and Politics in Mahmoud Darwish’s Metaphors

This paper is an analytical study investigating metaphors, the most aesthetic device, in the poetry of Mahmoud Darwish. In this study, the researcher categorized metaphors into three main groups: metaphors of plants and trees like wheat, metaphors of birds and animals as the hoopoe, butterfly, and dove, and metaphors of abstract and concrete elements of nature. The researcher concluded that metaphors employed in the Darwishian poetry are linguistic and cultural phenomena. Darwish focuses on the use of metaphors connected with nature with the help of which he turns the sign into the signified, the subject into the object, and nothingness into something, thus transferring the land of Palestine into a poem and making this poem one with Palestine. More importantly, metaphor is a sort of manifestation of identity, a paradoxical and illogical one since it is ‘this’ and ‘that’ at the same time. It combines two entities together that are similar and dissimilar. The poet resorts to metaphor as to the most unrestrained method of thinking in order not to prove anything through reasoning, but rather to reveal a concealed and subtle truth which paradoxically affirms that “poem and land are one.” Keywords : metaphor, aesthetic device, metaphors of plants, metaphors of animals, metaphors of nature. DOI: 10.7176/JLLL/66-08 Publication date: March 31 st 2020

Richard Misrach and Kate Orrf's Petrochemical America: Cartographies of the Picturesque

This article looks at the landscape photographer Richard Misrach's collaboration with the architect Kate Orff in Petrochemical America (2012), a prizewinning examination of the effects of the oil industry in the Mississippi delta. Whilst situating its critique of the oil industry in the twentieth and twenty-first centuries, Petrochemical America nonetheless uses a variety of aesthetic devices from previous centuries and traditions, in particular the use of the picturesque in landscapes of the nineteenth century. Through this and other mechanisms, the images in Petrochemical America become potential allegories for the paradoxical coexistence of a picturesque nature visibly affected by industrial transformation.

The Unbearable Postcoloniality of Non-Being: Specters of History and the Scars They Trace

This paper is as much an engagement with postcolonial criticism and theory as it is an exploration into both an aesthetics and a hermeneutics of the postcolonial condition. The two texts, Zakes Mda’s The Heart of Redness and Toni Morrison’s Beloved, could not be seemingly more disparate. However, despite such vast differences in locationality, one might upon closer examination discern similar aesthetic devices in the narrativization of historical events. The preponderance of motifs such as scars and hauntings; both in many ways signifiers of embodied traumatic pasts, lead one to entertain possibilities for comparison. Such comparisons are often made easier when one considers colonization as a shared event in the histories of the two contexts; ethnic conflict in colonial South Africa and slavery in America. While one is not completely foreclosing the possibilities of a fruitful dialogue across the two contexts, there are a variety of ethical underpinnings to such a potential intercultural exchanges – an ethics of comparison that accounts for not just the perceived structural or aesthetic similarities, but equally honors the experiential differences across and within two or more positions of marginality. It is precisely such an aesthetics and ethics that this study attempts to demonstrate in addressing questions of comparability and the intersecting theoretical and hermeneutic lenses available to comparatists, especially in the study of literatures located otherwise than dominant Euro-American positionalities.

Music Glocalization: Heritage and Innovation in a Digital Age ed. by David Hebert and Mikolaj Rykowski

Reviewed by: Music Glocalization: Heritage and Innovation in a Digital Age ed. by David Hebert and Mikolaj Rykowski Siel Agugliaro Music Glocalization: Heritage and Innovation in a Digital Age. Edited by David Hebert and Mikolaj Rykowski. Newcastle upon Tyne: Cambridge Scholars Publishing, 2018. [xlviii, 383 p. ISBN 9781527503939 (hardcover), £64.99.] Music examples, illustrations, index. Music has played an important part in the history of the term glocalization. After all, it is Akio Morita, the founder and CEO of Sony, one of the world's largest music and entertainment corporations, who receives credit as the inventor the word in 1990. The company's managers originally intended glocalization to signify the practice of diversifying global marketing schemes to better respond to the different cultures and social conditions existing in specific geographical regions. By 2008, this diversification strategy was so successful that the managers of Sony Music Entertainment [End Page 440] decided to trademark the expression "go glocal" as a business slogan (Wayne Visser, The Age of Responsibility: CSR 2.0 and the New DNA of Business [Chichester: Wiley, 2011], 257–58]. In the same years, glocalization entered scholarly discussion. While its use was initially confined to the field of economics, the social sciences later adopted the concept to better understand how individuals acting and living in local contexts are affected by or respond to global financial or social forces. In spite of its historical origin in the music industry, the concept has found a relatively limited use in music studies, whereas cognate terms such as diaspora, cosmopolitanism, and transnationalism are more commonly employed to examine the impact of the global circulation of ideas and musical products on specific cultural contexts. Music Glocalization: Heritage and Innovation in a Digital Age, edited by David Hebert and Mikolaj Rykowski, is the first collection on music topics to explicitly deal with the concept of glocalization. The book originates from two conferences held in 2014 and 2015 at the Academy of Music in Poznan, Poland, titled "Music from the Perspective of Globalization." The volume consists of fifteen essays, an introduction, and a conclusion, and is articulated in four sections. The first portion of the book gathers five chapters tackling issues of music and globalization from a theoretical perspective. David G. Hebert's opening essay describes glocalization as no less than "a defining aspect of the contemporary human condition" (p. 6) and examines the multiple roles assigned to music in this context, from its use as an omnipresent soundtrack of our everyday lives to the crucial significance for the music industry of data mining individual musical preferences by online services such as Amazon, Pandora, YouTube, and Spotify. In the following essay, cultural theorist Krzysztof Moraczewski indicates sound-recording technology as the preliminary condition for the current global dissemination of music and as the cause of the growing interaction between Western art music and "previously-oral music cultures" (p. 29) whose sonic products can be archived and preserved in time and space. In his contribution, David Kozel builds upon Jungian psychology to trace a parallel between the archetypal desire of the collective unconscious for unifying myths and the "nullification of differentiation and indigenousness" (p. 46) fostered by the global circulation of music. The two final contributions to the first section connect discourses on globalization with specific examples of composers. In the first, eminent Chopin scholar Mieczysław Tomaszewski considers the influence of Lithuanian, Belarusian, and Ukrainian cultural heritage on the music of five nineteenth-century Polish composers (Staniszław Moniuszko, Juliusz Zarębski, Mieczysław Karłowicz, Ignace Jan Paderewski, and Karol Szymanowski) who were born and raised within the so-called Polish Kresy, a territory in Eastern Europe that was once part of the Polish state. In the second, Victor Nefkens draws upon philosophers Alain Badiou and Gianni Vattimo to "reframe" Richard Wagner's Gesamkunstwerk as an antitotalitarian aesthetic device, in opposition to Theodor W. Adorno's notorious conceptualization of Wagnerian music drama (and of leitmotifs in particular) as a numbing technique that, like modern advertising jingles, is designed to impair the audience's critical thought. The second group of essays focuses on four contemporary composers to consider the different strategies they have adopted to assert their...

O PROTAGONISMO INFANTIL POR MEIO DA RESISTÊNCIA EM KAMCHATKA (2003)

Our assumption is that cinema and its aesthetic devices can reveal subtleties that the daily life so often does not allow us: the child's look on the world and its inherent dramas of childhood. And what can we access about childish afflictions in the face of social control governed by the centralization of power in the military and by the loss of rights? The proposal of this work is to developa discussion about the reading of the child in a vulnerable social context through the Argentinean film Kamchatka (2003). It shows thepower of childresistance. It is from the perspective of the 10-year-old protagonist, Matías (Harry), who accompanies the confluence of tension,playfulness and also the enigma of resistance that parents experience before the dictatorship. This article is linked to the research ...,it has as a research methodology the filmic analysis and takes as theoretical reference Adorno and Horkheimer (1985), Adorno (1992), Bernadet (1985),Bordwell (2013),Gardies, Rojas (2014), Truffaut (2005).The results point to the vigor of the filmic work by unveiling the impact of the imperative penetration of barbarism of the dictatorship in the various social intricacies, especially in childrenlives.

F.M. DOSTOEVSKY’S AND L.N. TOLSTOY’S LITERARY DEVICES IN THE WORKS BY MARK ALDANOV

The article is devoted to the analysis of the literary devices used by F.M. Dostoevsky and L.N. Tolstoy in the works of Mark Aldanov in the context of I.A. Bunin’s influence. Aldanov appealed to some Dostoevsky’s ideas; however, he used elements of Dostoevsky’s poetics in his novels. For the analysis of Dostoevsky’s literary devices, the article studies the essay «The Murder of Uritsky», the novels «The Key», «The Beginning of the End», and «Origins». The tradition of Dostoevsky is traced in the essays with a plot about the murder, in the construction used in the dialogues of heroes-resonators in the novels. The article has discovered devices that bring Aldanov’s style closer to Tolstoy’s one in the novels «The Beginning of the End», «Live as You Please», «Origins», «Suicide». The devices include analytical psychologism, individualization of a character by the use of metaphor or metonymy, a personal’s history. Aldanov follows Tolstoy’s narrative manner in demonstrating panoramic thinking, giving images of ordinary people along with images of historical personalities. In most Aldanov’s novels, the attitude towards Dostoevsky, like the attitude towards Tolstoy, is conveyed through a character’s point of view. The novel «Live as you Please» demonstrates interaction of the devices applied by Dostoevsky and Tolstoy. Aldanov realized his place in the tradition of Russian classical literature, argued with the classics of Russian literature if they were not convincing in their ideas or aesthetic devices. The use of the devices of Russian classics is associated with Aldanov’s conservative worldview and orientation toward the moral and aesthetic heritage of the Russian literature of the XIXth century. Aldanov was able to overcome the distance between the style and worldviews of Tolstoy and Dostoevsky.

Death and Violence in Contemporary Theatre, Drama, and Novel (Oliver Frljić, Anja Hilling, Simona Semenič, and G. W. Sebald)

Summary For the purpose of my examination of how literature and art take part in the circulation of significations and representations in the construction of social reality, I concentrate on a specific feature that links and unites the work of four contemporary European authors—the inflation of death and violence, or the “overflow of corpses” in their novels, plays, and performances. My first example will be Bosnian-Croatian theatre director Oliver Frljić, his disturbing, shocking performances in which he uses his own personal, wartime, and political traumas to ask universal questions about the boundaries of artistic and social freedom, individual and collective responsibility, tolerance and stereotypes. As the second and third example I will take plays by two (no longer) dramatic writers, Anja Hilling and Simona Semenič—two outstanding representatives of German and Slovene (no longer) dramatic theatre and drama, exploring in their texts a tension between repetition and representation in which the first mechanism undermines and challenges the second and produces a specific poetic or aesthetic device—an effect of ostranenie or defamiliarisation (Shklovsky). The third example will consist of the novels by Winfried Georg Sebald, in which the German author uses the device of his wanderings between signs, punctuated by black and white photographs, producing a specific emblematic of a mutation of space and time, in which history and geography cross-fertilise, tracing out paths and weaving networks. Besides examining the contestation of subject positions, I concentrate on the dialectics of art and society, where fluid, uncontainable subjects are constantly pushing the contours. Revising the critical consensus that contemporary art primarily engages with the real, the essay describes how theatre and fiction today navigate the complexities of the discourse as well as social realities; how the discussed artists all share the belief that creative expression must also be destruction. Art has to go beyond what we are and what we can identify through understanding. Thus, art negotiates, inflects discursive circulation of stories, idioms, controversies, testimonies, and pieces of (mis)information in the face of global uncertainties.