CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 CULTURA ding thevalues andculturalphenomenainthecontempo­ judged tomake anovelandimportantcontributiontounderstan- the submissionofmanuscriptsbasedonoriginalresearchthatare regional andinternationalcontexts. The editorialboardencourages mote theexplorationofdifferentvalues andculturalphenomenain ted tophilosophyofcultureandthestudyvalue. Itaimstopro Axiology and Culture Founded in2004, www.peterlang.com ISBN 978-3-631-71562-8 ISBN Cultura. International Journal of Philosophy of Philosophy of Journal International Cultura. isasemiannualpeer-reviewed journaldevo- rary world. - 2016

INTERNATIONAL JOURNAL OF PHILOSOPHY OF 2 CULTURE AND AXIOLOGY CULTURA CULTURA 2016 AND AXIOLOGY OF PHILOSOPHYCULTURE INTERNATIONAL JOURNAL Vol XIII 14.11.16 KW 4610:45 No 2 No CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 CULTURA ted tophilosophyofcultureandthestudyvalue. Itaimstopro Axiology and Culture Founded in2004, www.peterlang.com ding thevalues andculturalphenomenainthecontempo judged tomake anovelandimportantcontributiontounderstan- the submissionofmanuscriptsbasedonoriginalresearchthatare regional andinternationalcontexts. The editorialboardencourages mote theexplorationofdifferentvalues andculturalphenomenain Cultura. International Journal of Philosophy of Philosophy of Journal International Cultura. isasemiannualpeer-reviewed journaldevo-

­rary world. - 2016

INTERNATIONAL JOURNAL OF PHILOSOPHY OF 2 CULTURE AND AXIOLOGY CULTURA CULTURA 2016 AND AXIOLOGY OF PHILOSOPHYCULTURE INTERNATIONAL JOURNAL Vol XIII 14.11.16 KW 4610:45 No 2 No CULTURA

INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE AND AXIOLOGY Cultura. International Journal of Philosophy of Culture and Axiology E-ISSN (Online): 2065-5002 ISSN (Print): 1584-1057

Advisory Board Prof. Dr. David Altman, Instituto de Ciencia Política, Universidad Catolica de Chile, Chile Prof. Emeritus Dr. Horst Baier, University of Konstanz, Germany Prof. Dr. David Cornberg, University Ming Chuan, Taiwan Prof. Dr. Paul Cruysberghs, Katholieke Universiteit Leuven, Belgium Prof. Dr. Nic Gianan, University of the Philippines Los Baños, Philippines Prof. Dr. Marco Ivaldo, Department of Philosophy “A. Aliotta”, University of Naples “Federico II”, Italy Prof. Dr. Michael Jennings, Princeton University, USA Prof. Dr. Maximiliano E. Korstanje, University of Palermo, Argentina Prof. Dr. Richard L. Lanigan, Southern Illinois University, USA Prof. Dr. Christian Lazzeri, Université Paris Ouest Nanterre La Défense, France Prof. Dr. Massimo Leone, University of Torino, Italy Prof. Dr. Asunción López-Varela Azcárate, Complutense University, Madrid, Spain Prof. Dr. Christian Möckel, Humboldt University of Berlin, Germany Prof. Dr. Devendra Nath Tiwari, Banaras Hindu University, Varanasi, India Prof. Dr. José María Paz Gago, University of Coruña, Spain Prof. Dr. Mario Perniola, University of Rome “Tor Vergata”, Italy Prof. Dr. Traian D. Stănciulescu, Alexandru Ioan Cuza University Iassy, Romania Prof. Dr. Steven Tötösy de Zepetnek, Purdue University & Ghent University

Editorial Board Editor-in-Chief: Co-Editors: Prof. dr. Nicolae Râmbu Prof. dr. Aldo Marroni Faculty of Philosophy and Social- Dipartimento di Lettere, Arti e Scienze Sociali Political Sciences Università degli Studi G. d’Annunzio Alexandru Ioan Cuza University Via dei Vestini, 31, 66100 Chieti Scalo, Italy B-dul Carol I, nr. 11, 700506 Iasi, Romania [email protected] [email protected] PD Dr. Till Kinzel Englisches Seminar Technische Universität Braunschweig, Bienroder Weg 80, 38106 Braunschweig, Germany [email protected] Editorial Assistant: Dr. Marius Sidoriuc Designer: Aritia Poenaru Cultura International Journal of Philosophy of Culture and Axiology Vol. 13, No. 2 (2016)

Editor-in-Chief Nicolae Râmbu Guest Editors: Asunción López-Varela and Ananta Charan Sukla Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available in the internet at http://dnb.d-nb.de.

Cover Image: © Aritia Poenaru

ISSN 2065-5002 ISBN 978-3-631-71562-8 (Print) E-ISBN 978-3-631-71635-9 (E-PDF) E-ISBN 978-3-631-71636-6 (EPUB) E-ISBN 978-3-631-71637-3 (MOBI) DOI 10.3726/b10729

© Peter Lang GmbH Internationaler Verlag der Wissenschaften Frankfurt am Main 2016 All rights reserved. Peter Lang Edition is an Imprint of Peter Lang GmbH. Peter Lang – Frankfurt am Main · Bern · Bruxelles · New York · Oxford · Warszawa · Wien All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems. This publication has been peer reviewed. www.peterlang.com

CROSS-CULTURAL INTERMEDIALITY: FROM PERFORMANCE TO DIGITALITY

CONTENTS

Asunción LÓPEZ-VARELA AZCÁRATE 7 Introduction: Performance, Medial Innovation and Culture

Ananta Charan SUKLA 13 Indian Intercultural Poetics: the Sanskrit Rasa-Dhvani Theory

Krishna PRAVEEN and V. Anitha DEVI 19 Kathakali: The Quintessential Classical Theatre of Kerala

Jinghua GUO 27 Adaptations of Shakespeare to Chinese Theatre

Cyril-Mary Pius OLATUNJI and Mojalefa L.J. KOENANE 43 Philosophical Rumination on Gelede: an Ultra-Spectacle Performance

María VIVES AGURRUZA 53 The Cultural Impact of the Nanking Massacre in Cinematography: On City of Life and Death (2009) and The Flowers of War (2011)

Qingben LI 67 China’s Micro Film: Socialist Cultural Production in the Micro Era

Annette THORSEN VILSLEV 77 Following Pasolini in Words, Photos, and Film, and his Perception of Cinema as Language

Adile ASLAN ALMOND 83 Reading Rainer Fassbinder’s adaptation Fontane Effi Briest

Yang GENG and Lingling PENG 103 The Time Phenomenon of Chinese Zen and Video Art in China: 1988-1998

Carolina FERNÁNDEZ CASTRILLO 125 Lyric Simultaneities: From “Words in Freedom” to Holopoetry

Janez STREHOVEC 137 Digital Art in the Artlike Culture and Networked Economy

Stefano CALZATI 153 Representations of China by Travellers in the Blogsphere

Horea AVRAM 173 Shared Privacy and Public Intimacy: The Hybrid Spaces of Augmented Reality Art

10.3726/CUL2016-2_7

Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 07–12

Introduction Performance, Medial Innovation and Culture

Asunción LÓPEZ-VARELA AZCÁRATE Universidad Complutense Madrid, Spain [email protected]

This volume explores the impact of medial changes upon cultural production in general, and artistic objects in particular, contemplating the process from a socio-historical perspective. The collection looks at the relationship between the aesthetics of representation and the role of mediatization upon cultural practices. Thus, papers are interdisciplinary, combining cultural studies, comparative literature, intermedial studies, as well as performance studies, and varios forms of adaptation, from cinenma to online environments and virtual installations. The central focus of the volume is the mediating role of storytelling in the constitution, confirmation and modification of cultural history. The collection of papers explores intermediality in performance, as it shifts the focus of artistic creativity from the fixed enduring completed and printed work to the volatile event. Thus, the volume moves beyond the dialogical intertextuality of text and the intermediality of text-image combinations towards the eventness and corporeality of performance. From from a narratological perspective, this is a move that goes beyond the linearity of analogue models, to the semiotically complex narratives, prefigured in ancient ritual performance, further developed with the emergence of motion pictures at the beginning of the 20th century andsustained in the navigable interactive spaces of online narrative phenomena. The physicality and virtuality of presence is one of the transversal issues running through the volume, from the corporeality of theatre and performance to the tele-presence of virtual spaces. Presence is more than the mere physical occupation of space or the physical attendance of an event. It is an attitude, which informs on a subconscious level the intensity of communication acts. For example, online communities enabled by social media operate also on the basis of a mediated presence formed by the interaction of individuals. Virtual community members

7 A. López-Varela Azcárate / Performance, Medial Innovation and Culture act simultaneously as observers, participants, producers and critics of the multi-networked content. The turn to performance was preluded by the debate about the primacy of ritual over myth in classical studies, setting the stage for the dramatological perspective on social reality that dissolves representational structures into modes of practice, prefigured in the work of Victor Turner and Erving Goffman (cited in Giesen, 2006: 325). Semiotics had also signaled the impossibility of unmediated experiences of the world. Performance can be understood as an act of ontological affirmation that transfers forms of affect. The performers mediate and facilitate encounters with their audiences that enable simulated emotional experiences. In turn, these experiences help individuals become conscious of similar feelings and emotions in their own selves. The aesthetic experience is thus described as Aristotelian catharsis, and overwhelming feeling that affects deeply the person who experiences it; or as a form or wholeness of the world. It is also seen as a sort of absolute presence, almost freezing past, present and future in a moment of aesthetic stasis that becomes the sublime, theorized by the romantics; the epifanic moment of the yogic ‘samadhi’ in Hinduism or ‘satori’ in Zen Buddhism. In this sense, the volume opens with a paper by Ananta Charan Sukla who looks at Sanskrit poetics in order to explore how early Hindu critics of the 4th century BCE formulated the emotional charge present in verbal and non-verbal theatrical aesthetic experiences. The paper examines a variety of arguments in its exploration of the generation of affect, exposing the differences and parallelisms with Aristotle’s theory of catharsis, understood, in its etymological roots, as a form of discharge in relation to the audiences’ understanding of the imitation of something that they had seen before. Affect, as work by Gilles Deleuze and Felix Guattari, following Spinoza’s tradition, has demonstrated, provides an alternative route to conceive the body’s power of acting, aided or restrained by these forms of emotion. Although vision occupies a priviledged and dominant position within sensory processes, this volume suggests that the subject is contextualized, located, and also objectified by the interpellations of the gaze of others (audiences, co-participants, etc.) and by the social milieu. The cross-modality of our sensory apparatus frames forms of participatory embodiment where sight, gestures and touch situate the body in space. But these pre-verbal sensuous contingencies are in

8 Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 07–12 themselves communication acts that contribute to the production of ‘placedness’, engaging other people into sharing similar feelings and creating alternative places in the hybrid gaps between what is and what might be, a catalyst for action and production. This imaginary construction of places, by means of which the acting and receiving subjects become increasingly sensible in their emotional sharing, can be contemplated as a form of interpersonal and intercultural ‘enwordling’. It is in this sense that Krishna Praveen and V. Anitha Devi’s contribution looks at Kerala’s Kathakali Theatre as a cultural symbol of this Indian region. In striving to be the transmission of a re-performance, translation and adaptation turn the plurality of intersubjective voices into an even more complex intercultural polyphony; a space that is trans and inter-culturally repositioned, affecting the con-fusion of otherness through new forms of contact. The translator and adaptation producer are also receptors responding to the creation of (an)other and responding to his/her creativity by extending it. Each act of re-performance repeats other events in a different way, adding semiotic complexity to the original creation. Extensions can refer to translation of untranslatables, culturally adapted content, or the location of performative event, liberating it from its containment in a given place. Thus, Jinghua Guo provides insights on Shakespeare’s Chinese adaptations in theatre and the impact of performances in culturally laden places such as Buddhist temple, while Cyril-Mary Pius Olatunji and Mojalefa LJ Koenane focus on Yoruba performances from Nigeria and West Africa to Latin America, parts of Europe, Australia and the Black world at large exploring how the evolves beyond ritual performancesin the town squares and markets. From the theoretical point of view, as contemporary postmodern criticicism moved beyond ontology to epistemology, performance started to be seen as bringing about a repositioning event, a moment of mutual contagion formulated in the delocation of communication gaps and in the liminal ‘intertextmedial’ spaces, rather than the absolute re-enactment of presence. Studies such as Gilles Deleuze’s Cinema Two: the Time-Image, signalled the transition to “pure optical” signs and spaces of indeterminancy, which he termed “any-spaces-whatever” where the narratology of logical actions ceases, and is replaced by the “affect” of the “seer” (Deleuze, 1985: 2). These images transmit the encounter with facts shared by the actors in the film and by the viewer, pointing to the

9 A. López-Varela Azcárate / Performance, Medial Innovation and Culture kind of interconnectivity that makes the subject a center for the unification perception, a feature that allows the understanding of corporality as a network of semiotic activities. In this sense, María Vives Agurruza examines the cultural impact of the Nanking Massacre in Cinematography, exploring two films, The Flowers of War (2012), based on the homonymous novel by Geling Yan, and City of Life and Death (2009). Exploring the cultural context of China’s micro film industry, Qingben Liinquiries into a desired harmonization of social welfare and market efficiency in China in order toprovidedifferent models from those used inthe West. Speech adaptation suffers inevitable repositionings arising from the change of context, medium and author, because all speech is the vehicle, conscious or unconscious, of individual subjectivity, in addition to the differences in the conditions of reception of the work, which vary not only according to the new medium but also the expectations of public reception. Thus, Annette Thorsen Vilslev discusses the intercultural reception of Pier Paolo Pasolini and the medial crossovers between his person and his work. The paper shows the historical particularities of Pasolini's work, and it traces layers of intermedial references in his movie production, describing the many-layered intercultural interplay and the discussions on intermediality and remedialisation inherent in much of Pasolini’s work. Along similar lines, Adile Aslan Almond reads Rainer Fassbinder’s adaptation Fontane Effi Briest referring to the ambivalent criticism the movie received at the time of its release in 1974, and inquiring in particular into the question of language as its foundation. To end this part of cinema and video performance, Yang Geng and Lingling Peng explore the problems of language in Chinese modern and avant-garde art from 1988 to 1998, looking at early video art which reclaimed the independence of language from social reality and political influence and established it on the basis of the time phenomenon. By comparing the category of time in the Western philosophical tradition and in Chinese traditional thought, we find that the “immediacy” of Zen provides a hermeneutical approach to the nature of language as a reflective medium, closely related to the silent experience. In line with the three basic principles of transcendental Zen, video media purifies body language into the immaterial language in three ways – through disembodied video movement, the de-objectified video image, and discontinuous video narrative.

10 Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 07–12

To many critics, the spaces open by contemporary performance and cinema are provocative and blur the boundaries between art and reality, artists and spectatator. Indeed, non-linearity in cinema is detected in ’s review of Don Roos film Happy Endings (2005), where she coined the term ‘hyperlink cinema’ to refer, metaphorically, to films that follow multilinear patterns, including for instance captions that function as footnotes, or split screen elements. In The Cinema Effect, Sean Cubitt uses the term “Neobaroque Film”, borrowing it from Italian semiotician Omar Calabrese, to refer to the complex storytelling of some contemporary movies. In a similar way, Warren Buckland uses the expression “Puzzle Film” to refer to productions like Memento (2006), with forking-path multiple plots that break the bounderies of classical mimetic plots (Bucland, 2009: 5) that coincide with the emergence of digital online technologies and hypermedia, forms that continue to reposition storytelling and performance producing new ways of virtual re-enactment of presence. Many provocations and dislocations are already present in early twenty century Futurism, as explored in Carolina Fernández Castrillo’s paper, which focuses on the significance of technology-based poetic creation in the digital era by looking at Eduardo Kac's Holopoetry. Discusing digital media as well as postdigital art, Janez Strehovec presents a panorama of cultural transfer of procedures and tools, borrowed from art but influencing various contexts and fields. The paper discusses how contemporary art enters into intense relations with these fields, including interactions, adoption of methodological devices and approaches, changes of the areas of activity, hybridization and amalgamation. Strehovec argues that it is important for art not to be a passive and second-grade link in these interactions, meaning that it doesn't simply scientificate, economize and politicize, contributing instead artistic innovations to other fields which consequently become artlike. Turning to blogs and traveling storytelling, Stefano Calzati adopts a transmedial perspective in order to investigate narrative similarities and differences between print and online Western-authored travel blogs focus on China as the travel destination. The paper by Horea Avram closes the volume by looking at the hybrid spaces of augmented reality artand at the tensions between private perception and public engagement, claiming that the hybrid AR spaces raises the prospect of a new sensorium with an expanded corporealitythat confirms the possibility of distinct aesthetic paradigms and social relations.

11 A. López-Varela Azcárate / Performance, Medial Innovation and Culture

References Deleuze, Gilles. The Time-Image. Trans Hugh Tomlinson and Robert Galeta. London: Athlone Press. 1985. Cubitt, Sean. The Cinema Effect. Cambridge MA: MIT press. 2004. Giesen, Bernhard. “Performing the sacred: a Durkheimian perspective on the performative turn in the social sciences”. Social Performance: Symbolic Action, Cultural Pragmatics, and Ritual, Eds. Alexander, Jeffrey C., Giesen, Bernhard and Mast Jason, L. Cambridge University Press. 2006: 325-367. Quart, Alissa. “The postnuclear family according to Don Roos.” 2005 http://static1.squarespace.com/static/549355e2e4b0a309c8cef596/t/54e411 3ce4b0fe705ef05f86/1424232764987/HAPPY+ENDINGS.pdf

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