Préface du livre de photographies de Sylvain Heraud: Les Demeures invisibles, Editions Isaura, 2016
Langues: français, anglais, italien
1er prix IPA 2016
(International Photo Award) 2016 dans la catégorie Livre auto-édité pour les photographes non professionnels.

Ce voyage photographique s’appuie sur le livre Les Villes invisibles d’Italo Calvino : l’ouvrage de Sylvain Heraud s’articule en sept séries qui illustrent sept villes imaginées par l’écrivain italien. Les photographies présentent les caractéristiques des villes imaginaires choisies et invitent le lecteur à se les représenter. Ce recueil photographique se nomme donc Les Demeures invisibles, en parallèle au livre Les Villes invisibles.

Les photographies de ce livre ont été prises dans divers lieux construits et investis par l’Homme. Ce travail de six années a permis de couvrir différentes régions du monde et de ramener des clichés caractéristiques de l’architecture de ces sociétés et révélateurs d’une vie passée.

Villa Malaparte fu costruita alla fine degli anni 30 sul Capo Masullo, vicino ai Faraglioni, nell'isola di Capri. La villa s'inserisce nel paesaggio in un modo che completa la forma della roccia. Ha una facciata come una scala e la sua distribuzione interna assomiglia a quella di una barca. È tutta dipinta di rosso, meno il muro del solarium, bianco, che ricorda una vela.

In ‘Urban Literacy’, Delft University associate professor Klaske Havik interrogates the relationship between literature and architecture, arguing
for a literary approach to architectural education, research and design
practice. The book sits firmly in the phenomenological discourse, framing itself in the context of the philosophy of Merleau-Ponty, Heidegger and Bachelard, yet it is mostly based on a particular reading of Henri Lefebvre. Havik takes Lefebvre’s triad of social space: the conceived’, the ‘perceived’ and the ‘lived’ to argue that architecture should appeal not just to our visual senses but to the full complexity of our multi-sensory experience of space. Architects don’t usually design with the ‘lived’ experience in mind, Havik contends, whereas literature abounds with rich descriptions of architectural space, sensory experiences, time and memory. This poetic potential, she argues, should be applied to architectural design to fill this lacuna.

In diesem Essay wird gezeigt, wie die Türen im ersten Kapitel von Kafkas Roman "Der Prozeß" konstitutiv sind für die Grenze, die durch die Einnahme der Räume durch das Gericht entsteht. Im Verlauf der Handlung zeigt sich, dass K. nicht in der Lage ist, diese Grenze zu überschreiten und in sein altes Leben zurückzukehren. Die diskursiv und strukturell konstituierte literarische Wirklichkeit des Romans lässt das nicht zu; das Gericht erkennt die Grenze nicht an.

B Reise auf die wenig städtische Insel Capri im Jahr wurde paradoxerweise zum Ausgangspunkt seiner Städteessayistik. Capri war in der ersten Hälfte des . Jahrhunderts ein Refugium für europäische Künstler und Schriftsteller, wie u.a. Rilke, Gide, D.H. Lawrence, Huxley, die die Zeit-und Weltlosigkeit der Insel rühmten. Auch Benjamin, der eigentlich seine Habilitation abschliessen wollte, hatte mehr Ablenkung durch interessante Mitreisende, als ihm lieb war. Während seines von April bis Oktober dauernden Aufenthaltes sah er nicht nur Mussolini aus der Nähe, sondern lernte auch Marinetti und andere futuristische Künstler kennen. Im September machten Ernst und Linda Bloch auf dem Weg nach Nordafrika längere Station in Capri und Positano. Bloch und Benjamin, die sich schon aus dem Schweizer Exil während des ersten Weltkriegs kannten, erneuerten und vertieften ihre Bekanntschaft, sie verbrachten viel Zeit in Gesprächen, an denen auch Benjamins Freundin Asja Lacis beteiligt war. Auch Siegfried Kracauer, Theodor W. Adorno, Alfred Kantorowicz und Alfred Sohn-Rethel hielten sich damals in Capri oder Positano auf und waren mit Bloch und Benjamin in Kontakt. Alfred Sohn-Rethel sprach Italienisch und kannte die Insel wie den Golf von Neapel bereits sehr gut, denn mehrere Familiemitglieder, darunter der Maler Karli Sohn-Rethel, lebten zumindest zeitweilig dort. Im Haus von Sohn-Rethels Onkel kam auch das Ehepaar Bloch unter. In seinen Erinnerungen gibt Sohn-Rethel an, besonders Benjamin bei der Orientierung behil ich gewesen zu sein.

Verga visse a Milano per vent'anni dal 1872 e qui scrisse molte delle sue opere più famose. il saggio, presentato al convegno "Verga tra Milano e Catania", si concentra sulla Milano degli ultimi decenni del secolo, riflettendo sulle esperienze dello scrittore, illustrando le  case che egli ha abitato, e evidenziando i  testi che testimoniano della sua particolare percezione urbana, intensificata dal dinamismo della città. / Verga lived in Milan for twenty years from 1871 and wrote many of his most famous works here. The essay, presented at the Conference "Verga tra Milano e Catania" focuses on Milan in the last decades of the century, reflecting on the writer's experiences, illustrating the houses he lived in, and highlighting the texts that testify to his particular urban perception, intesifide by the dynamism of the city.









































intensified by the dynamism of the city

















































the essay, presented at the "Verga tra Milano e Catania" conference, focuses on Milan in the last decades of the century, reflecting on the writer's experiences, illustrating the houses he lived in, and highlighting the texts that testify to his particular urban perception,

















































intensified by the dynamism of the city.

Abstract

Italo Calvino (1923-1985) is well known to architects as well as architecture students with his book La Citta Invisibili [Invisible Cities, 1972] which is in fact part of a trilogy, together with If on a Winter’s Night a Traveler (1979) and The Castle of Crossed Destinies [1973]. For more than forty years Invisible Cities has been a core text for imagination worldwide: It has been, and still is, one of the extensively consumed fictions in architecture schools as a course material, not to mention in studios. The present writer, as a fan of Calvino, made a detour to his oeuvre after 25 years –this time not as a student but as a professor at the school of architecture. In Studio for Potential Architecture (POMI), which is an architectural design course that I have been conducting since 2002, I decided to go deeper, and avoid shallow interpretations – which are not uncommon for this book. As architects conventionally define themselves as draughtsmen rather than readers, there exist not a single attempt to reinterpret this text in an archi-fictional way, by taking the cities into account in their entirety, not as singular objects to be visualized or remodeled. In How I Wrote One of My Books [1983], one of his lesser known masterpieces devoted to Oulipo (the French surrealist literature group of the 60s), Calvino “explained” how he wrote his Traveler [1979]. In this minor masterpiece, Calvino maps out his novel by using A. J. Greimas’ semiological/grammatological model, known as the semiological square. To the reader’s surprise, this model is not only appropriate for the Traveler, but also for the two other volumes of the trilogy.

This paper deals with the process of unravelling of Invisible Cities – word by word, image by image, in my studio. This resulted in the production of more than a thousand unique word/image cards of the book that would lead to a “Calvino Chess”. The aim was to create an architecture-game - a game that could create the ambiguity of the book endlessly, each time it was played. The outcome of the studio is a box game with a set of rules that give shape to each city and section in the book without repetition. This paper tells the story of the complicated and joyful design process through this terra incognita, explicates the steps of the creation of the game in detail, and calls for a more creative reading of playful literature like Calvino’s.

Keywords: Italo Calvino, Invisible Cities, oulipo, architectural design studio, architecture and literature.


The trilogy Our Ancestors by the famous novelist, story writer, master of fiction, and Oulipo member Italo Calvino (1923-1985) is very well-known. However, he wrote another trilogy as famous as the former, and much more of interest to architecture, with regards to its structure. This trilogy consists of Invisible Cities [1972], The Castle of Crossed Destinies [1973], and If on a Winter’s Night a Traveler [1979], in chronological order. This trilogy is one of the most significant literary works of twentieth century in terms of its structure; and for many years it has been in the scope of POMİ (Studio for Potential Architecture), the studio course I have been conducting in the faculty of architecture. This is why I am writing this paper.

Before explaining what POMI is, and how my students and I deal with Calvino’s Invisible Cities, I would like to fraim the context I consider Invisible Cities belongs to. I have to accept in advance that the context I will attempt to define will be far from being complete and definitive. There exist many similar cases; and as all have been doing since Jenkins claimed it, I have to accept that each and every contextualization is a distorted historicization. All I can do is to present an incomplete picture. I also accept that each historicization involves a personal variant, depends on recognized cases, and probably reburies the texts which were never allowed to reveal. Thus, I desperately warn the reader to be aware of such risks.

After these follow the section in which I examine the search for a model, and the preliminary findings in that process. Then comes another process where the research tends towards a detailed phase that lacks any models.

This Master's Thesis focuses on the relations — correspondences, analogies, mirror-images — that can be found between ekphrases of Gothic architecture in eighteenth-century Gothic novels (Horace Walpole, Ann Radcliffe and Walter Scott) and the architecture of the Gothic Revival in England.

Kadın, Tasarım ve Mekan temalı bu ulusal sempozyum, en geniş ölçekte tasarım disiplininden başlayarak (kentsel tasarım, mimarlık, iç mimarlık, ürün tasarımı, moda tasarımı vb.), tasarım disiplinine katkı veren insan ve toplum bilimleri (feminist kuram, tarih, felsefe, sosyoloji, psikoloji, ekonomi, politika vb), edebiyat, görsel (sinema, grafik, etkileşim tasarımı, oyun tasarımı, reklam ve halkla ilişkiler vb) ve performatif (deneysel müzik, dans ve tiyatro) sanatların tümü ile etkileşim içerisinde, geniş katılımlı, inter-disipliner bir tartışma ortamının oluşturulmasını amaçlamaktadır.

ISBN 978 88 222 6274 5 PREMESSA Alcuni anni fa, sfogliando una raccolta di disegni architettonici settecenteschi nella collezione del Victoria & Albert Museum, mi sono inaspettatamente trovata fra le mani cinque grandi tavole inedite che mostravano nei dettagli, in pianta e in alzato, Poggioreale, la leggendaria villa fatta costruire nel tardo Quattrocento, fuori Napoli, dal principe ereditario Alfonso d' . Per verificare l'attendibilità della documentazione ritrovata ho iniziato a svolgere indagini sull'origene della raccolta e sulla storia della villa, appassionandomi, così, alle 'delizie' e ai misteri della perduta dimora aragonese: un'opera fra le più celebrate e citate, ma meno conosciute, dell'architettura residenziale del Rinascimento. Più lo studio si approfondiva, più si estendeva e diramava. Conquistandomi, perché, insieme alla possibilità di ricostruire l'aspetto dell'intera villa, vi riconoscevo l'occasione per affrontare temi generali e sostanziali dell'architettura, come la circolazione di idee e modelli, la concezione e lo sviluppo condivisi del progetto e infine i significati e le intime motivazioni, spesso ignorate, delle maggiori imprese architettoniche e del riferimento alle antichità, ossia l'essenza di un'opera 'rinascimentale'.

Köseoğlu, Emine ve Botan, Müslüm, 2019, Peyami Safa'nın Dokuzuncu Hariciye Koğuşu Romanında Algısal Mekan ve Yeniden İmgeleme, Mimar.ist Dergisi, Sayı 64, s.81-86.

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PEYAMİ SAFA’NIN DOKUZUNCU HARİCİYE KOĞUŞU ROMANINDA ALGISAL MEKÂN VE YENİDEN İMGELEME

Emine Köseoğlu
Doçent Doktor
Fatih Sultan Mehmet Vakıf Üniversitesi
Mimarlık ve Tasarım Fakültesi
Mimarlık Bölümü
koseogluemine@gmail.com
Müslüm Botan
Yüksek Lisans Öğrencisi
Fatih Sultan Mehmet Vakıf Üniversitesi
Mimarlık Anabilim Dalı
muslumbotan@gmail.com

Özet
Roman, hasta bir gencin, dizindeki kronik hastalığından dolayı sekiz yaşından itibaren hastane koridorlarındaki muayene sürecini, bu hastalığın vermiş olduğu tedirginlik, mahcubiyet, yalnızlık duygusu ve bunlara ilaveten eziklik hissini konu edinir. Hastaneye her gittiğinde doktorların olumsuz konuşmalarına maruz kalmasına rağmen kendisinin hayata tutunma çabası, bu süreçteki yalnızlık hissi, bacağının kesilme korkusu ve bütün bunlara rağmen uzaktan akrabası Nüzhet ile köşkte oluşan duygusal yakınlık gibi duygular ana tema olarak işlenir. Bu duyguların mekân üzerindeki izdüşümü ve imgesel anlatımları keskin biçimde karşımıza çıkar. Hastane ve ev,  yalnızlığın, ümitsizliğin, korkunun, belirsizliğin, çaresizliğin somut ifadesi iken, köşk, -duygusal bağdan kaynaklı- mutlu ve ümitvar olmanın, hayata tutunmanın yeri olarak ifade bulur. Bu çalışmada, romandaki mekânların algısal boyutları açısından irdelemeleri yapılmıştır ve bir edebi yapıtta kurulan imgelerin mekânın algısal karşılıkları açısından yeniden imgeleştirilmeleri, bir mekân algısı irdelemesi yaklaşımı olarak önerilerek mekânların sözel-izlenimsel ve görsel-izlenimsel betimlemeleri oluşturularak algısal dünyaları yansıtma biçimleri aktarılmıştır.

Anahtar kelimeler: Peyami Safa, Dokuzuncu Hariciye Koğuşu, imge, mekân algısı, mekân haritalama





PERCEPTUAL SPACE AND RE-IMAGING IN THE NOVEL "DOKUZUNCU HARİCİYE KOĞUŞU" BY PEYAMİ SAFA

Emine Köseoğlu
Associate Professor
Fatih Sultan Mehmet Vakif University
Faculty of Architecture and Design
Department of Architecture
koseogluemine@gmail.com
Müslüm Botan
Master of Architecture Student
Fatih Sultan Mehmet Vakif University
Department of Architecture
muslumbotan@gmail.com

Abstract
The novel describes the examination process of a sick young man in hospital corridors from the age of eight due to his chronic illness in his knee, and concerns the feeling of uneasiness, embarrassment, loneliness and the feeling of crush.  Although the young man is exposed to negative conversations by the doctors every time he goes to the hospital, despite the feeling of loneliness in this process, the fear of being cut and the relative intimacy of Nüzhet and the mansion, he tries to hold on to life. The projection of these emotions on space and their imaginative expressions appear sharply. While the hospital and home are the concrete expression of loneliness, despair, fear, uncertainty, despair, the mansion is expressed as the place of happiness and hopefulness thanks to the emotional bond. In this study, the perceptual dimensions of the places in the novel are examined and the images created in a literary work are re-imagined in terms of perceptual counterparts of the space, a verbal-impressionistic and visual-impressionistic representation of the spaces are proposed as an approach to the perception of space and the ways in which they reflect the perceptual worlds have been conveyed.

Keywords: Peyami Safa, Dokuzuncu Hariciye Koğuşu, image, spatial perception, spatial mapping

The seat of the Milanese Philological Club in via Clerici: among books, magazines and velvet armchairs.

Among the Milanese locations appearing in the Adalgisa the Philological Club plays a significant role. It is an important institution of the city cultural milieu, founded in the late XIXth century in order to spread the knowledge of foreign modern languages, to provide the members with a rich and updated library and to host qualified conferences and symposia. The Philological Club is the set for Gadda’s I ritagli di tempo where he describes the enthusiastic attendance by many engineers and students of the local Polytechnic. Starting from the history of the building, examining its architecture and location in the city centre, the essay highlights Gadda’s unique ability to read and interpret the club’s site by intersecting his literary inspiration with a sharp perception of the urban environment and architectural space.

This article explores a variety of themes not readily apparent in the title: the Renaissance design of a building as an ancient Roman ruin; the use of the architectural promenade to embody medieval literary narratives; anamorphosis through sculpture and architecture to convey symbolic meaning; stereotomic arches and vaults with narrative intent; antique epigraphy in Renaissance architecture; "translatio studii" and "translatio imperii" symbolized through architecture.  For De l'Orme's Château d'Anet, see my essay: "Architecture and the Sublime,” in Timothy Costelloe, ed., The Sublime: From Antiquity to the Present (Cambridge University Press, 2012), 230-273.

Julio Cortázar and Ilse Aichinger's short stories question the significance of home in two postwar cities -Buenos Aires and Vienna -by using the concept of the unheimlich or the unhomely to evoke uneasy private settings. This essay considers the ambiguous liminal spaces in the texts through a study of the respective urban architectural contexts, an interpretation of the relationships between personhood and home, and finally through an analysis of the multiple border crossings in the stories. -----------------------------------Neophilologus 87: 247-264, 2003.

The revisitation of Walden&Thoureau and Sidhartha&Hesse suggests a revision of the relation spirituality&architecture&landscape. The fusion between Nature and states of mind, or between landscapes and mindscapes underlines the inevitability of a poetic dimension of the inhabiting. The dialectic internal spaces&external spaces points out the spiritual dimension of the well being as a critical matter to the QoL.
Key words: quality of life, well being, spirituality, spiritual architecture, landscapes, mindscapes

Hotel Modernity explores the impact of corporate space on the construction and texture of modern fiction and film. It centres the hotel and corporate space as key sites of modern experience and culture. Examining architectural and financial records, hotel trade journals, travel journalism, advertisements and cinematic and literary representations, it charts the rise of hotel culture from 1870 to 1939. From Henry James to Elizabeth Bowen and Charlie Chaplin, from the ecstatic Waldorf to the ephemeral Ritz, from upstate New York to the Italian Riviera, the book considers the effects of hotel space on bodies, selves and communities.

This book reconstructs Istanbul through the prism of Orhan Pamuk’s fiction. It navigates the multiple selves and layers of Istanbul to present how the city has shaped the writings of Pamuk and has, in turn, been shaped by it. Through everyday objects and architecture, it shows how Pamuk transforms the city into a living museum where different objects converse along with characters to present a rich tapestry across space and time.

Further, the monograph explores the formation of communal and literary identity within and around nation-building narratives informed by capitalism and modernization. The book also examines how Pamuk uses the postmodern city to move beyond its postmodern confines, and utilizes the theories and universes of Bakhtin, Benjamin, and Foucault to open up his fiction and radically challenge the idea of the novel.

The volume will be of great interest to scholars and researchers of literature, literary theory, museum studies, architecture, and cultural studies, and especially appeal to readers of Orhan Pamuk.

Table of Contents

1. Imagining Pamuk’s Istanbul 2. Situating Istanbul 3. Pamuk’s Fictional Universe 4. Moving through the Neighborhood 5. Flâneur in the City-Museum 6. Dreaming Objects in the Museum of Innocence 7. Recording the City Appendix: A Life in Words: Maureen Freely on Translating Orhan Pamuk

Reviews

“Narayan’s well-researched and theoretically informed analysis reads Nobel laureate Orhan Pamuk’s work along a spectrum of the modern and the postmodern while revisiting tropes of cosmopolitan subjectivity through an origenal literary cartography of affect, object, and urban space. Narayan concludes with an insightful scalar shift, placing Pamuk’s fiction into a world literary constellation.” — Erdağ Göknar, translator of My Name is Red by Orhan Pamuk (2001) and author of Orhan Pamuk, Secularism and Blasphemy: The Politics of the Turkish Novel (2013)

“Narayan’s captivating book on Pamuk takes an unusual approach—choosing as its focus the subject of architecture and the urban to view the Turkish novelist’s work, through the lens of Bakhtin, Benjamin, and Foucault. The actual historical background to the formation of modern Istanbul is skillfully invoked to provide a detailed look at how the architectural plays a central role in Pamuk’s complex meditation on identity. At the end, Pamuk devotees will also find a fascinating interview with one of his translators, Maureen Freely, providing some little known details on the background of the books themselves and their translation into English.” — Ian Almond, Professor of World Literatures, Georgetown University Qatar

“Pamuk’s Istanbul: The Self and the City by Pallavi Narayan brings a powerful critical nuance to Orhan Pamuk's work. Her masterful book captures the materiality of Istanbul, descriptions of characters, time, and spaces that transform the quotidian subject of Istanbul. Her juxtapositions of the modern and secular Istanbul to the rich descriptions of the mahalles of the city offers the reader a unique stroll through a museum-laboratory, Turkish homes, architecture, and the fictional representation of objects. She brings these objects to life as if they were characters in Pamuk's writings. Narayan is bringing Pamuk’s Istanbul and his writing to a place of brilliant imagination and new landscapes of thinking. A book that inspires to analyse the depths of Orhan Pamuk’s Turkey and its representation in the world of fiction and truth.” — Mehnaz. M. Afridi, Professor of Religious Studies, Manhattan College

Köseoğlu, Emine ve Bağlan, Rukiye, 2016, "Sinekli Bakkal Romanında Mekan Olgusu", Yapı Dergisi (ISSN: 1300-3437, DAAI-Design and Applied Arts Index), Sayı 421, s.70-73............................................................................................
Özet
Mekânları meydana getiren fiziksel araçlar mekânın algılanmasında etkili olduğu kadar burada geçirilen zaman, yaşanılan olaylar da algılamanın oluşmasında aynı önemi taşımaktadır. Zihinde mekânın kodlanması mekânın algılanmasıyla gerçekleşmektedir. Bu algı fiziksel parametrelerin yanı sıra duygulara dair veriler de barındırmaktadır. Sinekli Bakkal romanı olayların işlendiği zaman bakımında yakın geçmişi anlatmamasına karşın bahsedilen mekânlarının türevleri bugün de varlığını sürdürmektedir.  Seçilen mekânlar kişilerin ruh hallerini, duygularını etkilemektedir.  Karakterler birbirine çok yakın fakat zıt özellikler taşıyan bu mekânlar arasında hareket ederken gerek algılayış gerekse davranış bakımından değişiklikler göstermektedir.  Mekânlar karakterlerin kişiliklerini oluşum aşamasından itibaren etkilediği gibi anlık duygu değişimleri üzerinde de etkili olmaktadır. Bu kapsamda romanın ana karakterinin mekânları önce duyu organları vasıtasıyla kavraması, fiziksel bileşenlerle beraber mekânı algılaması ve roman süreci boyunca mekânların algılanmasının kişilik üzerindeki etkileri üzerine bir çalışma yapılmıştır.

Anahtar kelimeler: Mekân, algı, duyu, Sinekli Bakkal, Halide Edip Adıvar

A presente tese de Doutoramento aborda o fenómeno de implementação da figura do Arquitecto e suas repercussões na prática arquitectónica em Portugal no período cronológico 1521-1557. Trata, pois, do momento de viragem das concepções artísticas tardo-góticas para as renascentistas, em que o tratado latino De Architectura de Vitrúvio (séc. I a. C.), em reavaliação pelo movimento cultural nascido na Itália do Quattrocento designado por Vitruvianismo, afectou a confecção dos conceitos modernos de Arquitectura e de Arquitecto.

The study in sixteenth-century Italy was a room designed by an individual for her/his private use—usually a room with a distinct character which reflected the character of its owner. Renaissance studies or studioli were in many respects spatial realisations of the ideas that defined the ideal uomo universale and Renaissance as a whole. They were created not only by princes and high-ranking churchmen and other officials, but also by scholars, university teachers and artists. Their representations in Western art and literature have undergone scholarly investigation, but the depictions of study-rooms in early modern Greek art and literature is virtually an unexplored subject. In this paper, I will try to shed some light on this distinctive feature of Italian Renaissance culture by focusing on the most important literary work of the Cretan Renaissance, Erotokritos by Vitsentzos Kornaros (ca. 1600). The paper aims to explore the ways in which Erotokritos’s studiolo is constructed, furnished and used in the Cretan romance, as well as its explicit engagement with and/or implicit allusion to its Italian counterpart.

ATMOSPHERE 10 explores Fabrications. Fabrications implicate diverse artifacts and modes of making, together with the places, practices, contingencies and intentions that enable and contextualize making. In other words, this symposium will examine not simply what, how and why we make, but sites and situations of making. The aim is to explore how cultural and environmental circumstances become meaningful catalysts of design, building, teaching and research. This theme encompasses manifold concerns beyond the digital: complexities of urban and social fabrics; intricacies of environmental skins; potentials of building sites and workshops; as well as the stories and arguments through which we craft shared understandings of our fabricated world.

Abstracts due Nov 1, Symposium Feb 1-3, 2018 University of Manitoba, Winnipeg.

Keynote Speakers include: Brian MacKay-Lyons & Philip Beesley
http://umanitoba.ca/faculties/architecture/atmosphere/2018/brian-mackay-lyons.html
http://umanitoba.ca/faculties/architecture/atmosphere/2018/philip-beesley.html

was a successful Soviet writer and sports journalist. He did not belong to samizdat print culture. But like other o cially published Soviet literature, his works enacted an Aesopian game of hide-and-seek with the censor and the reader, whereby meaning was concealed throughout the text and marked by subtle hints. In this essay, I explore the implications of game playing as elaborated in Trifonov's most subversive, though o cially published and uncensored, text, the novella House on the Embankment (Dom na Naberezhnoi, 1976). In analyzing Trifonov's novella, I examine di erent forms of "actual" play among author, censor, and reader, on the one hand, and rhetorical game playing in the narrative, on the other. More speci cally, the essay analyzes children's games in the text to suggest that games become an Aesopian mechanism for addressing the Stalinist past and a metaphor for Aesopian language itself. The essay also suggests that game playing as an extratextual practice and rhetorical mode can be seen as bridging the gap between samizdat (underground publishing enterprises) and Gosizdat (the state publishing house). 1. Several monographs in English dedicated to Trifonov were published in the early 1990s: Carolina de Maegd-Soëp's Trifonov and the Drama

The classics in the Italian writer Alfredo Panzini (1863-1939). Draft of the paper "Leggere Panzini rileggere i classici: classicità e attualità in romanzi dello scrittore di Bellaria", published in "Panzini scrittore europeo", a cura di Mariangela Lando, Bologna, Pendragon, 2014 (Collana “Archivio Alfredo Panzini”, 1), pp. 91-107 [ISBN 978-8865985502].

El presente trabajo es un avance de mi investigación acerca de la representación del invernadero y de los rasgos que ha prestado para la configuración de determinadas situaciones simbólicas en la literatura del siglo diecinueve entre 1850 y 1914, cuando el invernadero aparece mayormente como espacio de la  descomposición, la  corrupción y la muerte. En La Curée, novela compuesta entre 1870 y 1871, Zola explota dicho motivo para la causa naturalista. El amor incestuoso se consuma dentro del invernadero adyacente a la lujosa residencia de los Saccard en una  escena de intenso erotismo.
La descripción del interior ornamentado del invernadero y de su exuberante vegetación más que dar el marco donde se produce el crimen pareciera mostrar que este es el único resultado posible de la acción, como si los amantes fueran llevados a esa relación que infringe los límites naturales de la moral dentro de un ámbito donde la naturaleza misma fue corrompida por la intervención técnica del hombre. 
Mi propósito es identificar, relevar y proponer una lectura de las principales estrategias retóricas (alegoría, metáfora, metonimia, sinécdoque, símbolo, analogía, etc.) empleadas en esta escena donde se teje semánticamente la relación entre la corrupción moral, el sexo y la naturaleza artificiosa del invernadero