Class Transtextualities

This UC is optional. The objective is to inform students about the practices of artistic appropriation. Is purpose is to answer to the question: how to quote and appropriate other works in an personal artistic project?

Notion of transtextuality
The function of images and texts (comparison): the concepts letis and epideixis
Representation in image and text
Subtitling and Illustration
Design and design: grapho
The three categories with deictic function: EGO, HIC, NUNC (me, here, now)
The performativity of the title
The author's name and signature
Intertext: citation (imitation and parody), allusion, plagiarism, pastiche.
Paratext: author name, title, subtitle, cover, back cover
Metatext: stratification and overlapping of languages
Architext: the order of genres (structures)
Hypertext: transfers and transpositions, palimpsest
Syncretic and aesthetic regimes
Transposition regime as contamination, as alteration, as defilement of models, as infection,
as an analogue action exerted by one element over another comparable, imitation to amalgamate, mise-en-abyme.

n this CU, it is possible to use AI platforms to generate images with descriptions specified by the students and indicating which historical intersections they want these images to make visible. Subsequently, these images are analysed in the classroom, with collective discussions to effectively detect the transtextual strategies applied by AI. These methodologies allow us to understand the effectiveness (and lack thereof) in the creation of images by AI and the alternative that is the students' own creativity. Thus, the 2nd exercise is a plastic proposal by the students themselves on the image they had in expectation when asked to generate the image by AI. A 3rd group exercise is the actual proposal and creation of a scientific article according to specific and predefined criteria. Although the work of creating an article is not at all innovative, it is necessary for students to understand the inherent structures and the rules they must respect.

BABO, M. A. (1993). A escrita do Livro. Lisboa: Vega.
BARTHES, R. (2004). O Rumor da Língua. S. Paulo: Martins Fontes
BERGER, J. (1980). Modos de ver. Lisboa: Ed.70.
BERGER, J. (2003). Sobre o olhar. Barcelona: Gustavo Gili.
BERTHET, D. (1998). Art et appropriation. Point-à-Pitre: Centre d' Etudes et de Recherches en Esthétiques et Arts
Plastiques
EVANS, D. (2009), Appropriation. London: Whitechapel; Cambridge: The MIT Press. FOUCAULT, M. (1988) Isto não
é um cachimbo. Rio de Janeiro: Paz e Terra.
FOUCAULT, M. (1992). O que é um autor?. Lisboa: Vega
GENETTE, G. (1997), Palimpsests: Literature in the Second Degree (Stages). University of Nebraska Press.
GENETTE, G. (1986). Introdução ao arquitexto. Lisboa: Vega.
GIL, J. (2005). Sem Título. Lisboa: Relógio d'Água.
HUTCHEON, L. (1985). A Theory of Parody. The Teachings of Twentieth-Century Art Forms, N.Y. and London:
Methuen
LIPMAN, J., MARSHALL, R. (1978). Art about Art. NY: Whitney Museum "