Literal Reproduction Research Articles

Linguistics of intertext. Quotations in Julio Cortázar’s fiction (based on the material of the Spanish language)

In modern humanities the range of issues, related to manifestations of intertextuality in texts of different language systems, their interpretation by the recipient, as well as the use of intertexts by authors of verbal and non-verbal texts, is still of great interest to researchers. Moreover, the intertext plays a significant role in modern text-creating. This makes important studying the structural characteristics of intertextual units with the aim of developing the technic of creation one’s own intertexts as well as translating intertexts of others. So, the object of the present research are the intertextual units in the postmodernist writings, the subject are their linguistic characteristics. As the material the author has chosen the fiction by Julio Cortázar, which is particularly reach in intertexts. In order to delineate the existing definitions of intertextuality according to the “broad” and “restricted” approaches and precise our own vision of this phenomenon the author applied the methods of the cognitive sciences and semiotics. The general linguistic methods, such as description and observation, have been used in the analysis of the structure of the chosen intertextual units. The scientific originality of the research consists in the description of the linguistic particularities of different types of quotes in Cortázar’s fiction. During the analysis, quotations based on literal reproduction of the original format of the intertextually borrowed saying and citations that change it have been defined. The author pays particular attention to the analysis of the attribution, considered the key structural component of an intertextual unit. The results of the research may form the basis of the further researches of the linguistics of intertext. It may also be of practical interest to the authors using intertextual units in their own texts, as well as to translators of Cortázar’s and other postmodernist writers’ fiction.

FEATURES OF THE EVOLUTION OF REGIONAL CAPITALS IN THE USA’s AND THE KAZAKHSTAN’s ARCHITECTURE

The article deals with the interpretation of regional specifics in architectural and artistic forms. Special attention is paid to the order compositions. It is shown how the images of plants characteristic of the region were reflected in the capitals of the columns of various buildings from ancient times to the present day. The originality of approaches to this problem is emphasized on examples from the architecture of the USA and the Kazakhstan. Examples of the use of regional themes in the architecture of the USA and Kazakhstan show a significant difference. The architecture of the United States since the 18th century, on the one hand, is a struggle for the independence of territories from the colonial claims of England, France and Spain, with a corresponding cultural and ideological opposition to European traditions. On the other hand, it is a literal reproduction of European architectural styles from the Middle Ages. In Kazakhstan, the emphasis on regional features of architecture is indeed constant. Special attention is paid to the interpretation of the motifs of the national ornament. The beginning of the 20th century led to the emergence of a special trend of the national neoclassical style, which also spread and evolved into a postmodern interpretation.

Fertile Ground

Fears of immigration and demographic change have fueled nativist, pro-natalist movements that support the reproductive, heteronormative family as a vital political project shaping their rhetoric and politics. This paper argues that right-wing populist movements can be situated within heteroactivsm, as reactionary movements positioning themselves against challenges to the heteronormative family. I suggest that understanding the populist character of these movements can help theorize why so many right-wing populists echo specific claims about gender and race. By situating their political claims in biological claims about sex, gender and race, these movements contrast themselves with abstract ideals of universal human rights, neoliberal rationality, and cosmopolitan globalism, embracing the traditional family, gender norms, and heterosexual reproduction. They encourage normative family promoted through state policy of rewarding proper families and punishing improper social reproduction—whether literal reproduction or the cultural reproduction of values. Tracing the broad outlines of a political project anchored in the reproductive bodies of women, I argue for greater attention to the ways the heteroactivist project is central to right-wing populism and its multi-scalar manifestations.

ЖОРСТОКІСТЬ У МИСТЕЦТВІ ЯК СОЦІАЛЬНИЙ ПРОТЕСТ

Art events are one of the best ways to draw attention to social issues: they are usually vivid and thought-provoking, become a source of long discussions, and ultimately can be a driver of social change. To increase the expressiveness of these actions such provocative methods as shocking cruelty, violence, and violations of moral standards were mostly used. Especially often these methods were used to protest against events related to cruelty and violence – including war. Currently, the war in Ukraine needs maximum publicity, thus to increase the impact on the audience many artists try to reproduce the war crimes of Russia in artistic performances with shocking cruelty similar to the one that took place in the crimes themselves. At the same time, the question arises whether this really attracts attention in favor of Ukraine. The purpose of the article is to discover the phenomenon of cruelty in the art of social protest. Results: The conducted research shows that shocking cruelty as expressive language does not attract attention as effectively as Ukrainians would like. If the viewer was not warned about the scenes of cruelty, then according to the ethical standards of Europe such performances are seen as a violation of the audience's rights and so become condemned. If the informed consent of the viewer has been obtained, then a photo, documentary video, and puppetry have a more convincing effect than acting. Methods that moderate the provocativeness of the performance without shocking brutality allow to achieve better results. Quite peaceful, non-provocative art actions – such as charity concerts and exhibitions, participation in marches, demonstrations, murals in support of Ukraine, painting buildings in Ukrainian colors, petitions to rename streets, etc. – also achieve good results. Conclusions: The study of the phenomenon of cruelty in the art of social protest showed that choosing shockingly violent forms of performance in art actions is based on the desire to punish the "offender", to wish the same brutal revenge, and to show the scale of the problem by its literal reproduction. However, the recipient perceives such performances differently, thus artistic methods need to be adjusted.

For certain executive action in the Penal Code

Numerous changes in the Penal Code over the last 30 years, which have been made at different times and for different reasons, have led to significant casuistry in the linguistic description of the executive act. The replacement of legal terminology with words from the colloquial Bulgarian language created a normative paradox – describing one and the same prohibited behavior in one or different types of crimes through synonyms from the Bulgarian language. The adoption of legislative practice for the literal reproduction of terminology from international acts and acts of European Union’s law, which are subject to introduction into criminal law, has further aggravated this problem. Overcoming it is essential for the proper application of criminal law, as it has direct connection with the differentiation of the scope of the various forms of the act. In some cases it turns out impossible even though a significant volume of interpretive activity has been done. Moreover, the inconsistent use of the same descriptions of executive acts, in view of the differences in other constituent features, also leads to different meanings of the same term in the composition of different crimes. The present study focuses only on some of these cases, grouped by the basis of their common starting point for their criminal law content – “accept – receive – acquire”; “holds – stores – carry over – ships – transports” and “transports across the border – imports – exports”.

Роман Ф.М. Достоевского «Игрок» в венгерских переводах: интерпретация концепта любовная страсть

The article presents the first attempt to study the Hungarian translations of Fyodor Dostoevsky’s The Gambler. The research aims at determining the completeness of the translation of sensemaking elements in the two most popular Hunagarian translations by Endre Szabo (1900) and Erzsebet Guthi Devecserine (1957) to assess the impact of the translation shifts on the preservation of the novel’s idea. The method of studying the original and the translations is based on the concept analysis. Studying the original, the authors have revealed that the concept of passion (composed of such concepts as passion in love, passion for gambling, greed, and pride) is one of the sensemaking elements in the novel. The article focuses on passion in love in three episodes of the introduction which verbalise this concept in the image of Alexey Ivanovich, thus establishing his psychological portrait and describing his attitude to Polina. The worldview in Dostoevsky’s novels is built upon the orthodox values, which define the dominants of the novel axiology. The Hungarian culture is catholic. The contradictions between the Orthodox and Catholic interpretation of passion in general allow hypothesizing that the reproduction of some features of passion in love in translation may be challenging. The analysis of the translations has revealed that the translators rendered some features of the concept practically without loss (appetence, hatred, murder, jealousy, desire, appetite, agony / excruciation, suicide, disease). Theidentified losses (pleasure, extinction of appetence, loss of control) do not distort the sense of the episodes studied as well as the portrait of the character. The authors believe that it was possible to preserve the concept due to a number of factors. Firstly, the translators focused on the similarities rather that differences in the Orthodox and Catholic interpretations of passion. Secondly, the approach of the Hungarian translators is distinguished by an extremely careful attitude to the original: Szabo adheres to the literal reproduction of the original style and Devecserine aspires after the balance between the original and the Hungarian linguistic norm. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.

Jerusalem, Bari, Petrograd: the Sites of Pilgrimage and the Russian Church Architecture in the Second Half of Nineteenth – Early Twentieth Century

The article investigates the evolution of Russian church architecture on the sites of mass pilgrimage from Russia – in Jerusalem and Bari (Italy). The changes in churches’ appearance reflected both the artistic quest of Russian architects and transformation of Russian official ideology. The “Byzantine” style which dominated in the church architecture in 1860s and 1870s was replaced by “Russian” and later by “Neo-Russian” styles. The churches abroad served as the instrument of the official ideology representation. Their appearance and interior had also to create familiar environment for the pilgrims. Construction of the churches in “Russian” style was accompanied by the growing attention to the historical details, running sometimes to literal reproduction of historical models. In 1917 this process, as well as the pilgrimage itself, was stopped by the revolution.

Принципы и методы создания сюжетных композиций современного стрит-арта

The paper traces the evolution of compositional solutions and figurative content of narrative street art from its inception to the present and identifies the most common constituent elements of narrative street art compositions. They include: narrative photo images, narrative digital art, narrative unique and printed author's graphics, narrative scenes and elements from the works of classical, national art and mass culture. The author considers the relationship between the evolution of technical means in the arsenal of street art artists and creative techniques and methods performed in figurative street art compositions. The narrative component was present already at the stage of graffiti and early street art, then gradually evolved towards greater significance and diversity of compositional solutions, reaching its heyday in modern public art. The study discusses characteristic creative techniques of iconic figures in contemporary street art and their role in the process of evolution of narrative street art compositions. Among them are Seen, K. Haring, J. M. Basquiat, Banksy, Ma Claim, Shepard Fairey, as well as the Russian cult street-art artist Pavel Pukhov, who gained international fame during his lifetime. The authors determined main methods of creating narrative compositions in contemporary street art; the most commonly used ones are the literal reproduction of narrative source material, the multiplication of primary sources, their mixing, superimposition and collage. The paper outlines the main principles of successful narrative street art compositions, including the relevance of the narrative, communication and contextual aspects, poster art, ensuring a quick perception by using an artistic language accessible to the mass audience, the use of easily recognizable allusions and archetypical images.

Sobre status científico e o significado de uma teoria psicológica

Desde o final da década de 1950, um número significativo de autores tentou usar a abordagem de Galperin (conhecida como a " Teoria da formação planejada por etapas das ações mentais " ou a Teoria PSFMA) para melhorar os processos e os resultados da escola. Olhando para os mais de cinquenta anos de história da sua abordagem, pode-se notar que, nos anos 1960 e no início dos anos 1970, houve um grande otimismo em relação à eficácia e eficiência da aplicação prática dessa teoria. Parecia possível transformar radicalmente o caminho e os resultados tradicionais do processo de ensino/aprendizagem. Ao comparar as publicações dos anos 60-70 e 80-90, foi possível descobrir facilmente a diminuição significativa de uma onda de otimismo em relação à aplicação da PSFMA. Além das óbvias razões socioeconômicas e sociopsicológicas, há uma razão metodológica relativa às formas e aos meios de uso da abordagem de Galperin. Historicamente, os resultados pedagógicos substanciais dessa teoria já tinham sido constatados, no entanto o entusiasmo dos proponentes por resultados realmente incomuns e esperançosos teve um lado oposto: levou a um sério mal-entendido sobre o status da abordagem de Galperin e a transformou em algum conhecimento absoluto, como uma espécie de "pedra filosofal". A aplicação bem-sucedida das declarações da PSFMA não significa uma reprodução literal de algum procedimento geral abstrato, mas um planejamento criativo de um sistema de condições psicológicas necessárias e suficientes, adaptadas a uma situação escolar concreta. A elaboração de tal procedimento ocupa uma posição intermediária entre o conhecimento psicológico fundamental e o processo real da escolarização. Considera-se que o sistema de três modelos preenche uma lacuna entre o conhecimento fundamental introduzido por Galperin e as circunstâncias reais da situação de ensino/aprendizagem.
 

Race, labour, and the future of the past: King Lear’s ‘true blank’

This essay argues that our nostalgic desire for narratives and paradigms of devoted domestic service – from Downton Abbey to King Lear – are both implicated in, and comprise part of, a racial project: the propagation of whiteness. Looking in particular at Kent’s status as his master’s ‘true blank,’ I suggest that ‘devoted service’ is articulated in racialized terms, and thus the search for an idealized, valorized service rehearses the rhetorical and real terms of white supremacy. In their investment in familial metaphors, texts which traffic in the terms of ‘good service’ also stage the literal reproduction of whiteness. The essay therefore ends by suggesting that attending to the interstices of critical race and queer theory can offer a mode of critical resistance to the generation and genealogy of whiteness encoded in the practices of ‘devoted service’ and in our perennial and often deeply problematic attempts to recover them.

«ШЕКСПИРОВСКИЙ ТЕКСТ» ПОВЕСТИ И.С. ТУРГЕНЕВА «СТЕПНОЙ КОРОЛЬ ЛИР»: ОБРАЗЫ ГЕРОЕВ

The article is about the comparative analysis of the tragedy by Shakespeare and of Turgenev's story A Lear of the Steppes. During all his life and creative work, Turgenev was occupied with research, understanding and popularization of Shakespeare's discoveries in the study of human nature. Shakespeare's belief in the human being organically combined with his own humanistic principles. Creating a story with an evident orientation toward the English dramatist's tragedy, Turgenev included elements in its structure which would designate moments of artistic rapprochement. This arrangement developed at the levels of the genre, the plot, the conflict, the characters' images and the space. However, the writer did not see the problem of a literal reproduction of the form and content of Lear: it would have meant an intolerable simplification of the artistic conception. Shakespeare's experience did not hide the problem of the understanding of national material from Turgenev but served as a significant reference point in modeling the tragic tempers and images. The accent on Shakespeare's figurativeness, the author already expressed in the title, later shows in the exposition where a reader can see six persons sitting in the house of their old fellow student one winter evening who are speaking about Shakespeare's types. Before starting to talk about King Lear, each of them names one character they have met in reality: Hamlet, Othello, Falstaff, Richard III and Macbeth. The list of the names does not remain a simple mention: certain moments of all these types or particular details of the works are represented in the further narration. From separate Shakespeare's insertions Turgenev goes to the modeling of particular artistic images which show their specificity in the material of the usual Russian reality. Making the story on the artistic basis of Shakespeare's tragedy, Turgenev tries the roles of the tragedy characters on his own ones. The author puts a representative of a specific national world who has a strong temper and the might of a boundless power in the center of the dramatic action. The representative is Martin Harlov, a steppe landowner who fairly aspires to the role of the proud monarch. The writer makes almost all characters participate in the large-scale drama. The writer gives everyone their own individuality and independence, and determines their important (laden with a particular meaning) place in the tragic history.

Memory and connection: Remembering the past and imagining the future in individuals, groups, and cultures

Contemporary memory research has benefited from the contributions of researchers in a broad range of disciplines. Neuroscientists have identified the cellular mechanisms of memory and brain networks that support various kinds of memory processes; psychologists have characterized component processes of memory and developed detailed models of their properties and interactions; historians, sociologists, and other scholars have analyzed how memory shapes the identity of groups and societies. Although it is difficult to specify a single idea or approach that all of these diverse approaches share, one theme common to them is that memory is a dynamic, constructive process that reflects the goals and biases of individuals and groups, rather than a static or literal reproduction of past experiences. This general perspective dates at least to the French sociologist and philosopher Maurice Halbwachs (1925) in his pioneering treatment of collective memory, Les cadres sociaux de la memoire, and to the British psychologist Sir Frederic Bartlett (1932) in his classic monograph, Remembering: A Study in Experimental and Social Psychology, and has assumed increasing importance during recent years in multiple research areas. The view that memory is a dynamic construction led Halbwachs, Bartlett, and many others to ask questions about the functions that memory serves, in part because understanding how we use memory should provide insights into why it is that memory operates in a constructive manner that is sometimes prone to error and distortion, rather than as a static and literal reproduction that is never mistaken (cf. Neisser, 1967, 2008; Newman and Lindsay, 2009; Ross and Wilson, 2003; Schacter, 2001). These characteristics of memory are strongly evident in the recollections of individuals, as demonstrated both in laboratory studies and in everyday life, where phenomena such as mistaken eyewitness recollections provide dramatic reminders of the fallibility of memory. But they are also evident in the memories of groups and cultures, where collective memories of past events may be shaped to serve the needs of the present.

Filming translation: Subtitling and adaptation in Jean-Luc Godard’s Contempt

Abstract Exploring the nature of the special relationship that links cinema and translation often means analysing the translational process through dubbing or subtitling, that is to say from source to target text or culture. This article aims to discuss the ways in which a multilingual page-to-screen adaptation is filmed. In the context of filming translation, dubbing may present characteristics that are not well-suited to the challenges presented by multilingual films, and none the more so than in one of the most fascinating films, Jean-Luc Godard’s Le Mépris/Contempt (1963), in which translation and adaptation are at the core of its discourse. First, I will demonstrate that the subtitling of the multilingual dialogues in Contempt questions the notion of film translation as mere literal reproduction or transparent transposition. Second, I will show that the multi-layered adaptation exposes Godard’s own interpretation of cinematic truth, ultimately presenting cinema as a metaphor for translation.

Creating Madres Campesinas: Revolutionary Motherhood and the Gendered Politics of Nation Building in 1950s Bolivia

Addressing the nation’s high infant and maternal mortality rate became a paramount priority following the 1952 Bolivian National Revolution. High infant mortality jeopardized the literal reproduction of the nation, therefore motherhood had to be reformed, sanitized, and modernized to fit new revolutionary ideals. Reproduction and women’s bodies were consequently at the heart of the revolutionary project. Attempts to improve child welfare drew women out of their homes and into health clinics where employees oversaw their nutrition, hygiene, and childcare regimens. They also fostered female solidarity linked specifically to maternal responsibilities, thereby inventing a notion of revolutionary motherhood inextricably linked to revolutionary goals. This process of expanding and modernizing maternal and infant health services reveal the gendered politics of nation building under the National Revolutionary Movement whose program for political change, economic development, and cultural transformation depended on a healthy and productive populace.

Constructive memory: past and future

Human memory is not a literal reproduction of the past, but instead relies on constructive processes that are sometimes prone to error and distortion. Understanding of constructive memory has accelerated during recent years as a result of research that has linked together its cognitive and neural bases. This article focuses on three aspects of constructive memory that have been the target of recent research: (i) the idea that certain kinds of memory distortions reflect the operation of adaptive cognitive processes that contribute to the efficient functioning of memory; (ii) the role of a constructive memory system in imagining or simulating possible future events; and (iii) differences between true and false memories that have been revealed by functional neuroimaging techniques. The article delineates the theoretical implications of relevant research, and also considers some clinical and applied implications.

No Prohibition of Dissemination of Information on Prescription-Only Medicinal Products on a Manufacturer's Website

Article 88 (1) (a) of Directive 2001/83/EC must be interpreted as meaning that it does not prohibit the dissemination on a website, by a pharmaceutical undertaking, of information relating to medicinal products available on medical prescription only, where that information is accessible on the website only to someone who seeks to obtain it and that dissemination consists solely in the faithful reproduction of the packaging of the medicinal product, in accordance with Article 62 of Directive 2001/83, and in the literal and complete reproduction of the package leaflet or the summary of the product's characteristics, which have been approved by the authorities with competence in relation to medicinal products (official headnote).

On Scientific Status and Practical Significance of One Psychological Theory

Since the late 1950s, a significant number of authors tried to use Galperin’s approach (which is well-known as the “Theory of planned stage-by-stage formation of mental actions”, or the PSFMA Theory) to improve schooling processes and results. Looking back at the more than fifty -year history of Galperin’s approach, one may note that the 1960s and the early 1970s were the periods of the great optimism concerning effectiveness and efficiency of its practical application. It seemed possible to transform radically the way and the traditional results of learning/teaching process. To compare the 60s-70s and the 80s-90s publications one could easily discover a significant decrease of a wave of optimism concerning the PSFMA’s application. Besides the obvious social-economic and social-psychological reasons there exists a methodological reason concerning the ways and means of the Galperin’s approach use. Historically, the substantial pedagogical results of planned stage-by-stage formation of mental actions first came to the fore. However, the proponents’ enthusiasm about really unusual and hopeful results had a reverse side: it led to the serious misunderstanding of the status of Galperin’s approach and transformed the last to some absolute knowledge like a sort of “philosophers’ stone”. The successful application of the statements of PSFMA does not mean a literal reproduction of some abstract general procedure, but a creative design of a system of necessary and sufficient psychological conditions adapted to a concrete schooling situation. The elaboration of such a procedure occupies an intermediate position between the fundamental psychological knowledge and the real process of schooling. The three-model system is considered to bridge a gap between the fundamental knowledge introduced by Galperin and the real circumstances of learning/teaching situation.

L\'enseignement de la traduction à vue à des apprenants de FLE: Teaching of sight translation to French Foreign Language learners

Contrary to the communication process in their first and second languages, students who try to speak a foreign language such as French tend to attempt a literal transfer of their various languages to compensate for insufficient language knowledge and intuition. This is a highly inefficient communication strategy which can be detrimental to language performance, resulting in an imperfect reflection of students\' actual knowledge of language. The problem does not lie in the fact that they translate mentally before speaking, but that they tend to translate literally. Whereas the pedagogical or linguistic translation generally practised in the language class encourages literal transcoding, an interpretive translation approach enables to re-express the meaning of the original text. Such a professional translation approach should be applied to translation in the language class, notably through the technique of sight translation, in order to teach students to avoid a literal reproduction of their reference languages, whether they translate verbally or mentallyJournal for Language Teaching vol Vol. 41 (2) 2007: pp. 99-112

L’autocitation à travers la structure advmentparlant

Taking into account the concept of 'self-citation' as 'literal reproduction, word by word, of someone's words (cf. the prefix auto-) in order to indicate the right scope to under- stand sentences', the paper intends to analyse the relation between elements inside the ad- verbial structure ADVment parlant where 'ADVment' is understood as 'point of view adverbs'. The paper presents an analysis of the nature of the relation between the adverbial structure and the sentence which is related to it. A new concept will be introduced—close to what is referred to as the parenthetique character of these adverbs—the parenthesique character, which appears only when they the adverbs are used in final position. There, self-citation emerges unleashing a range of cognitive procedures.

IS THE BEARDED MAN DROWNING? PICTURING THE FIGURATIVE IN A LATE-FIFTEENTH-CENTURY PAINTING FROM HERAT

In the study of Persian miniature painting and its development through the fifteenth century, it is dif ficult to overestimate the importance of the illustra tions in the 1487 manuscript of the Mantiq al-tayr in the Metropolitan Museum of Art in New York.1 Three of the illustrations in this manuscript are among the earliest specimens of the style of painting ush ered in by the artists at the famed atelier of Sultan Husayn Bayqara, the last Timurid prince in Herat.2 Over the years, aside from the usual debates about attribution, these enigmatic paintings have enticed art historians' curiosity and generated a number of largely inconclusive interpretations. general tendency to explain their content symbolically is ostensibly due to the designation of the Mantiq al-tayr as mystical poetry. Translated into English under such titles as Speech of the Birds or Conference of the Birds, the Mantiq al-tayr was written by Farid al-Din cAttar in rhyming couplets some three centuries before this manuscript was copied and illustrated.3 'Attar's twelfth century work was indeed an explicit contribution to the discourse of Sufism, which like its counterparts in Jewish Kabala and medieval Christian mysticism, sought a direct, individual experience of God. Advo cating the pursuit of the real?as opposed to the phe nomenal?truth, 'Attar's work is an allegorical tale presenting the various stages that a seeker of truth must go through in his or her quest for unity with the divine. paintings in the Metropolitan Museum manuscript have for the most part been understood as literal depictions of events from a handful of 'Attar's numerous parables, which elaborate the importance of these stages on the path to Sufism. Of the eight illustrations in the Metropolitan Museum manuscript, the first four are early seventeenth-cen tury additions. Of the four original illustrations, one does not display the characteristics that distinguish the other three paintings as early examples of the new style. Rather, this fourth painting, The Beggar before the King, has been characterized as depict ing a scene, which has been an integral part of the art of Iran from the Sasanid dynasty onward and appears in all schools of all periods of Persian miniature painting.4 My concern here is with The Man Drowning,5 one of the other three fif teenth-century illustrations, which are stylistically sim ilar enough to one another to be attributed to the same artist or group of artists. According to Priscilla Soucek, the advice given to students of calligraphy by Qazi Ahmad in the sixteenth century reveals the conservatism of artistic education in Iran, which jus tified two basic mechanisms of continuity in manu script illustration: literal reproduction and selective adaptation.6 Taking into account this tradition-bound artistic practice, I have assumed the content of the Bearded Man Drowning, and, except for the court scene, of all the paintings original to the manuscript, to have been provided by 'Attar's text. Nevertheless, although all three adhere to the convention of depict ing the events of the accompanying text, half of each of these three paintings contains images that do not appear to bear any direct link to that text?at least not on the literal level.