“The Paradise” by Georges Badin and Michel Butor, The Catalonian Garden, Galerie Berthet-Aittouarès, Paris, 2000
The invention of interartistic and the interartistic phenomenon
Dr Vassilena Kolarova-Pellerin is a lecturer and researcher at Sofia University “St Kliment Ochridski”. Dr Vassilena Kolarova-Pellerin coined the term “interartistic phenomenon” in the field of semiotics. The term was introduced for the first time in her 1998 Master 2 dissertation in Modern literature on Sartre, entitled Lire-ecrire ou le cheminement spirituel du personnage dans la Nausée [Reading-writing or the spiritual journey of the character in “Nausea”], when she coined the terms interartistic phenomenon, interpictoriality, intersculpturality, interarchitecturality, interphotographicity, intercinematographicity, intermusicality and intertheatricality. The book The Interartistic Phenomenon Across „The Essays“ of Montaigne and „Mobile“ of Butor, „Catalonian Garden“ of Butor and Badin…published by Prostranstvo & forma in Sofia in 2007 takes her semiotic research further in her first doctoral thesis at the New Bulgarian University. The interartistic phenomenon was then supported and developed in his second doctoral thesis in the context of the Renaissance in France and Italy, entitled The interartistic phenomenon in Montaigne’s Essays, published in Bern in 2018 by Peter Lang. Dr Vassilena Kolarova-Pellerin came up with the idea of interartistic as a relationship between the arts in the field of literature and art based on intertextuality, and she introduced the field of interartistic studies into the field of semiotic research. Her concept of the interartistic phenomenon differs from intertextuality in that it relates exclusively to the arts. From a theoretical point of view, the interartistic phenomenon explains the fundamental relationship between the arts in any artistic field. Hence the multitude of terms coined by Dr Vassilena Kolarova-Pellerin: interartistic studies or Interart Studies, the interartistic phenomenon, interpictoriality, intersculpturality, interarchitecturality, interphotography, intercinematography, intermusicality and intertheatrality.
Academic path at the crossroads of literature and the arts
Dr Vassilena Kolarova-Pellerin has a doctorate in literature and art history, and is a semiotician. She published The interartistic phenomenon in Montaigne’s Essays, which introduced the concept of the interartistic phenomenon in the doctoral thesis she defended at the Centre for Research on Arts and Language (CRAL) at the EHESS in Paris in 2010. Her concept of interartistic phenomenon differs from intertextuality. This is because it only affects the arts through the interartistic, because the interartistic phenomenon explains from a theoretical point of view the fundamental relationship between the arts in digital arts and in the artistic and audiovisual field, including video, film, theatre and the various media studied, in an interartistic way. She has a BA and an MA2 in Modern Literature. In 1999, she obtained a Master 2 degree in French literature from Sofia University “St. Kliment Ohridski”. She also holds a Master 2 in Didactics, Master FLE (French as a Foreign Language) from Paris 3, Sorbonne Nouvelle University. She taught French at the Catholic University of Paris from 2015-2017, where she gave specialist courses in French, literature and art, in particular on “The interartistic phenomenon in Montaigne and Proust”. In 2016, she was admitted to the École du Louvre – Louvre School to study History of Art in the second year of the First Cycle in Paris. In 2020, she obtained a BA in Art History and Archaeology from the University of Lille, France. The author is opening up Interart Studies and developing interartistic studies within an international framework. Dr Vassilena Kolarova-Pellerin has published in Paris, Toulouse, Sofia, Toronto, Cambridge, Amsterdam, Buenos Aires and elsewhere.
Research areas
Her research focuses on the semiotics of literature and art, particularly French art. Since 2021 she is a senior assistant professor at the Institute of Literature of the Bulgarian Academy of Sciences in Sofia, where she furthered her research into interarchitecturality by coining the term. She is a professor of “History of French Art from the Fifth to the Seventeenth Centuries” at the Department of History of Art at Sofia University “St Kliment Ochridski”. As a specialist in the Middle Ages and the Renaissance in the fields of literature and art, as well as in comparative literature for the study of text and image, she is interested in the polyphony of the arts in the seventeenth century from a semiotic point of view.
Membership:
Member of the International Association for Semiotic Studies (IASS-AIS) since 2004 – present
Book review
Списание Страница, „Романът “Раз/сдвоение” на Иван Младенов, като точка на пречупване между изкуствата“, издание на Пловдивския университет „Паисий Хилендарски“, Пловдив, брой 4/2022, с. 160-167. ISSN 1310-9081, [Literary magazine Stranitsa, “Ivan Mladenov’s novel “Scission” as a point of intersection between the arts”, Plovdiv University Press „Paisiy Hilendarski“, Plovdiv, no 4/2022, pp. 160-167. ISSN 1310-9081].
https://knigabg.com/index.php?page=book&id=63977
“”Scission” is an extraordinary novel that grips us as soon as we ride the waves of the intertwining of the arts, which, in the three parts, are deployed in extremely varied ways, each providing a different philosophical solution. Light enters the field of thought, capturing images as if with a camera, and is swept up in the whirlwind of new architectural dimensions with digital technologies.”
Philippopolis is one of the ancient names of present-day Plovdiv, which has been the most widespread over the centuries. Its founder was Philip II in ancient times, the father of Alexander the Great. The apostle Paul addressed the Philippians in the “Epistle to the Philippians”, a New Testament book in the Bible.
The Kuyumdzhiev House is one of the masterpieces of Renaissance architecture in the Old Town. Master Hadzhi Georgi built it in 1847. It is a typical representative of Plovdiv symmetrical Renaissance house. Experts define it as the peak of Baroque architecture in Bulgaria. Its owner was Argyr Kuyumcioglu, a rich merchant from Plovdiv. It was a Municipal House-Museum, whose successor is now the Regional Ethnographic Museum – Plovdiv.
Renaissance houses in the old town, Plovdiv
Interior in Hindlian House, Plovdiv
Broadcast
Българско национално радио „Христо Ботев“, Нов брой на списание “Страница”, 02/05/23
[Bulgarian National Radio „Christo Botev“: New issue of “Stranitsa” magazine on 02/05/23] https://bnr.bg/hristobotev/post/101817512
Reviews
Article about Vassilena Kolarova-Pellerin by Aleksandr Evgenyevich Makhov, Doctor of Literature, university professor at the Russian State University of the Humanities, Research Fellow at the A.M. Gorky Institute of World Literature, Institute of Scientific Information for the Social Sciences.
1.Александр Евгеньевич Махов, „2012. 03. 008. Коларова. В., Феномен интерхудожественново“, в Журнал Социальные и гуманитарные науки. Отечественная и зарубежная литература. Сер. 7, Литературоведение: Реферативный журнал, Научный журнал на тему: Искусствоведение, Федеральное государственное бюджетное учреждение науки «Институт научной информации по общественным наукам Российской академии наук» ISSN 2219-8784, с. 56-61 [Alexander Evgenyevich Makhov, “2012. 03. 008. Kolarova. V., Phenomenon interhudozhestvennovo”, in Journal of Social and Humanities. Otechestvennaya i zarubezhnaya literatura. Ser. 7, Literary Studies: Abstract Journal, Scientific Journal on the theme: Art History, Federal State Budgetary Institution of Science “Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences”, in Journal of Social and Human Sciences, ISSN 2219-8784, pp. 56-61]
Review by Aleksandr Evgen’evich Makhov translated to English:
“2012.03.008. KOLAROVA V. THE INTERARTISTIC PHENOMENON. KOLAROVA V. The interartistic phenomenon // Semiotica. – Berlin: Walter de Gruyter, 2010. – H. 180. – S. 19-45.], pp. 57 -61, March 2012
Vassilena Kolarova (School of Advanced Studies in Social Sciences, Paris) develops the theme of the interaction of the arts in a philosophical and semiotic context, which qualifies her article as intermedial. However, V. Kolarova introduces her own term “interartistic” to designate the area in which the arts interrelate, emphasising its fundamental difference from the familiar term “intermedial”: whereas the latter concept denotes (according to Kolarova) the set of specific cases of mutual influence of the arts (for example, the transformation of elements of musical form in a particular literary work), the former denotes something more universal and substantial, namely, the phenomenon of the original kinship of the arts, their principled openness to each other.
Intermediality, understood as the practice of borrowings, influences and impacts that take place between works of different arts, is based on interartistic – the phenomenon of “proximity existing between the arts” (p. 20). Interartistic is thus a category of the deep plane, expressing the ontology of aesthetic objects: each work of a certain type of art inherently contains the seeds of works of other arts; a symphony “slumbers” in a poem, a poetic text is hidden in a painting. Every artistic text – verbal and non-verbal – is a potential meeting point for all the arts. Interartistic, understood as a general mode of existence for works of art, in fact makes possible specific intermedial relations.
The justification for this idea in V. Kolarova’s work is of a purely theoretical (not to say metaphysical) nature: she does not turn to the analysis of specific works of art, but to the interpretation of literary, semiotic, aesthetic and philosophical theories which, in her view, anticipate the idea of interartistic. The first of these theories is the literary concept of intertextuality in its various variants (V. Kolarova cites not only J. Kristeva, who proposed the term intertextuality, but also M.M. Bakhtin, J. Genette, R. Barthes, F. Albrecht and J. Fontanille among the researchers who developed this concept).
Kristeva’s idea of intertextuality (formulated at the end of the 1960s), according to V. Kolarova, implies two inevitable consequences: firstly, “poetic language is a dialogical language” (p. 20); secondly, in literature, as in art in general, the process of signification is “dynamic”, since “the generation of meanings goes on ad infinitum” and the text is constantly “in a movement of reorganisation” (p.21). This continuous process of ‘reorganising’ the text involves not only verbal elements, but also visual and musical images associated with the text – which means that every poetic text is ‘open’ not only to the domain of other texts, but also to the media domains of the other arts.
Intertextuality in Genette’s model turns out to be just one of five types of transtextual relationship. In his works of the 1990s (“L’Œuvre de l’art: immanence et transcendance”, 1994;[ The Work of Art: immanence and transcendence], “L’Œuvre de l’art: la relation esthétique”, [The Work of Art: the aesthetic relationship] 1997), Genette (as understood by V. Kolarova) transfers the idea of the self-transcendence of a text, of its going beyond its own limits, to art in general, which makes it possible to speak not only of transtextuality, but also of “transartistic, transpictural, transmusical, transarchitectural”, etc. (p. 22-23). (p. 22-23).
Commenting on Genette’s reflections, Kolarova notes that a work’s ability to “go beyond its own immanence” (p. 24) implies its dynamism: “a work is always in motion”, which means that “you can’t read the same book twice” or “see the same painting a second time”, because with each new interpretation of a work, its meaning changes, evolving continuously (p. 23)
For V. Kolarova, however, it is important to show that a work, by transcending its immanence, is also capable of transcending its medial environment: a text is, to a certain extent, capable of transforming itself into music, a painting into a text, and so on. She finds an approach to such an understanding of the evolution of a work in I. Kant’s “Critique of Judgment” (1790), one of the paragraphs of which bears a quite intermedial title: “On the combination of the various fine arts in a work” (§ 52). Kant speaks of such combinations (e.g. poetry with music in song) as a private case, far from always having an indisputable artistic meaning; however, V. Kolarova gives his “precious idea” (p. 25) a universal meaning, finding in the paragraph concerned “the hypothesis of the inseparable connection of the arts in a single work”. Kant, according to his interpretation, “constructs a triad of the three branches of art – painting, music, literature”; at the same time, in each work of one of these arts, echoes of the other two are dormant, and thus each artistic text is internally triadic (p. 26).
Why does V. Kolarova need the triad in particular? This becomes clear in the next section of her article, which deals with the semiotics of C.S. Peirce and his triadic semiotic sign, which is made up of the Representamen (the external form of the sign), the Interpretant (the meaning of the sign) and the Object (what the sign refers to). In the field of art, the relationship between the elements of the triadic sign becomes extremely dynamic: the same Representamen (for example, a painting in its physical reality) can not only receive different meanings in different interpretations, but can also become a meaning (Interpretant) for another work of art that refers to this painting (if, for example, another work of art “quotes” it).
The combination of the triadic sign and the Kantian triad of the arts creates, according to V. Kolarova, a conceptual construct that makes it possible to describe intermedial relations in all their dynamics.
Any work of art can be represented as a semiotic triadic sign whose vertices, depending on the particular reading and the relation with other works, can change not only their semiotic nature (for example, a Representamen can turn out to be an Interpretant if it is mentioned by another work), but also their medial content: the colours on a canvas by V. Kandinsky can be “heard” as sounds; the letters in a poem can be “seen” as colour tones, etc. Kandinsky’s painting can be “heard” as sounds; the letters in a poem can be “seen” as shades of colour, etc. (pp. 27-28). “A literary text, being the Representamen of an Object of reality, becomes an Interpretant in relation to a certain pictorial image, which, in turn, is transformed into the Representamen of a given literary text, and becomes the Interpretant of a certain musical work, etc. (p. 32). In this dynamic of re-cognition, the triadic semiotic sign acquires volumetry – as if it were becoming a pyramid.
The last scientific concept taken into consideration by V. Kolarova as a forerunner of the doctrine of transartistic study is the neo-Kantian Ernst Cassirer’s ‘philosophy of symbolic forms’. According to Cassirer, all forms of spiritual activity are, to a greater or lesser extent, symbolic creations – man, in his understanding, is a creature that creates symbols. The main areas of symbolic creation are myth, language and art; these are what Cassirer calls “symbolic forms”.
In Cassirer’s conception, V. Kolarova identifies two points that seem to her to correspond to her own theory: 1) human spiritual activity as a whole moves away from reality to “reach a purely symbolic form”, freed from the mimetic beginning (at the level of purely symbolic forms such as, for example, Paul Klee’s abstract paintings, the intermediary connections of the arts are particularly clearly revealed – colours and contours, free from any link with reality, begin to “sound” like music, etc.); 2) the series of symbolic forms created by man cannot, in principle, be completed – it sinks into infinity, remaining open forever. etc.); The second idea is particularly important for V. Kolarova because it justifies the infinity of the semiotic process in which a work of art is involved: “a work of art always remains incomplete even when it is finished; it is always open because it retains its semiotic basis, which makes it available for subsequent interpretations and creative extensions…” (p. 37).
Thus it turns out that the symbol in art is neither complete nor isolated, but “part of a global transcendental structure”. This discovery leads V. Kolarova to the almost mystical conclusion that in the “interartistic relationship” an “eternity” is revealed, reminiscent of the eternity of God:
“God, through his charity, transmits to the artist the gift of creating and thus participating in the development of the universal spirit.” (p. 42). This is the meaning of art as “unlimited semiosis”, the theory of which was developed by V. Kolarova from a mixture of ideas from Kant, Cassirer, Kristeva and Genette, combining them based on Peirce’s doctrine of the sign.”
2. Kolarova, Vassilena, “The Interartistic Concept in Kandinsky’s Paintings The Image/Text problem” in Amsterdam International Electronic Journal for Cultural Narratology, autumn, N 4 2007, http://cf.hum.uva.nl/narratology/a07_kolarova.htm
Quoted in:
Book review chapter “Dematerialializing Verbal and Visual matter in The Aestetic Matter, Modernism, the Avant-Garde and Material Exchange, Sarah Posman, Anne Reverseau, David Ayers, Sascha Bru, Benedikt Hjartarson, De Gruyter, 17th October 2013, quoted on p.95.
3. “Kolarova Vassilena, « The Interartistic Phenomenon as an Intermedial Structure in the Arts», Applied Semiotics, Sémiotique appliquée, 20, nᵒ 7, Sémiotique et Intermédialité, (February 2008), Toronto, Canada, 5-14”
Quoted in:
Critical book about interdisciplinary art and interarts practices: Collision: Interarts Practice and Research by David Cecchetto, (author and editor) Nancy Cuthbert (editor), Julie Lassonde (editor), Cambridge Scholars Publishing; Unabridged edition December 1, 2008, Selected bibliography, quoted on p. 348.
4. „EE 3460 Kolarova Vassilena, L’Indicible chez Michel Butor, Applied Semiotics, no 17 (2006), nᵒ17, 64-75 [UM]”
Quoted in:
French XX Bibliography 59, Critical and Bibliographical References for the Study of French Literature Since 1885, quoted by William J. Thompson, on p. 19 628
5. Review by the American artist Deborah Gavel in 2016:
“This study presupposes to call as such the phenomenon triggering the spiritual and physical beauty, which everyone touched by art is able to feel, from the point when several components combine to form one whole. -Kolarova Vassilena”
“The words, interpicturality as well as intertextuality and intermediality are new to me. Though the conceptual aspect of these words has become second nature to me; in our global existence we continually cross reference in conversation and every time we make a search on the World Wide Web. Derived from the Latin intertexto, meaning to intermingle while weaving, the term intertextuality was formulated by Julia Kristeva-who wrote in the 1960’s about shaping meaning in text through the use other texts, into a unified whole. Shaping meaning or image by the layering of multiple references, parallels my process as I write this on my Mac computer in a program called TextEdit. I am engaged in the process of intertextuality while multiple windows are open on my desktop: a Wikipedia definition of the word; an essay by Kolarova Vassilena on The Interartistic Phenomenon.”
http://www.deborahgavel.com/artist-statement/
6. Kolarova, Vassilena, « Le phénomène interartistique », in Semiotica, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, n 180, Toronto, 2010, pp. 19-45, ISSN: 1613-3692, Le phénomène interartistique (degruyter.com)
Quoted in:
Bercier, Ariane, Concert rock et théâtralité : Secret World Live de Peter Gabriel, Doctoral thesis 2011, Département de théâtre Faculté des arts Université d’Ottawa, Ottawa, Canada, 2016, ruor.uottava.ca inuottawa.ca, quoted on p. 134
https://ruor.uottawa.ca/handle/10393/35539
7. Kolarova, Vassilena, « Le phénomène interartistique », in Semiotica, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, n 180, Toronto, 2010, pp. 19-45, ISSN: 1613-3692, Le phénomène interartistique (degruyter.com)
„Or, cet aspect interartistique des arts de la scène, c’est-à-dire la relation qui existe entre les arts lorsque ceux-ci se côtoient dans la même œuvre2, ne reçoit pas autant d’attention qu’il le devrait. “Vassilena Kolarova, “Le phenomene interartistique”, Semiotica, n 180 2010, p. 19-45”
https://ruor.uottawa.ca/handle/10393/35539
Quotation by Ariane Bercier translated in English:
“However, this interartistic aspect of the performing arts, i.e. the relationship that exists between the arts when they come together in the same work2, does not receive as much attention as it should.” “Vassilena Kolarova, “Le phenomene interartistique”, Semiotica, n 180 2010, p. 19-45”
Quoted in:
Bercier, Ariane, Concert rock et théâtralité : Secret World Live de Peter Gabriel, Doctoral thesis 2011, Département de théâtre Faculté des arts Université d’Ottawa, Ottawa, Canada, 2016, ruor.uottava.ca inuottawa.ca, quoted on p. 1.
https://ruor.uottawa.ca/handle/10393/35539
8. Kolarova, Vassilena, « Le phénomène interartistique », in Semiotica, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, n 180, Toronto, 2010, pp. 19-45, ISSN: 1613-3692, Le phénomène interartistique (degruyter.com)
“This process of association between those involved in the communication of dance as a language is a strong feature of that language, which reaffirms the unity of the triad Sign-Object-Interpretant (for more insight on how the triadic aspect of semiosis is present in artistic communication see Kolarova, 2010), which is a fundamental part of the study in a semiotics frame.,” Quoted on pp. 110-126
Quoted in:
Rochelle, Henrique, “Rethinking Dance Theory Through Semiotics”,
State University of Campinas, published by Kalby studijos/ studies
about languages n ᵒ 26/2015, CEEOL
https://www.ceeol.com/search/article-detail?id=458079
9. Review by the French writer Michel Butor
“Kolarova, Vassilena:
– Auteur d’une thèse de doctorat sur le phénomène interartistique (“Le phénomène interartistique dans le texte littéraire / Les Essais de Montaigne et La Modificationde Butor”) à la Nouvelle Université Bulgare de Sofia, Vassilena Kolarova a travaillé sur Le Jardin Catalan, livre d’artiste de Michel Butor et Georges Badin. Ses travaux ont notamment été présentés lors du Colloque international de Sozopole du 13 septembre 2006. A ce sujet on peut lire l’article “Le paradis de rêve … Le jardin catalan …” depuis le site de Georges Badin où l’on trouvera d’autres renseignements sur le travail de l’auteur sur Butor.
– “Sémantique des couleurs dans “La Modification” de Michel Butor”, Sledva, revue littéraire, Presses Universitaires de la NUB (Nouvelle Université Bulgare), n° 11, pp.20-30, avril 2005, publié en bulgare.
– “L’indicible sur l’Amérique ou le sublime des oeuvres ineffables”, Applied Semiotics / Sémiotique appliquée, Une Revue internationale de recherche littéraire sur Internet, n°17, juin 2006.”
– “Le chatoiement interartistique des lettres cyrilliques et des couleurs chez Butor et Badin“, intervention au colloque “L’univers Butor” de Belo Horizonte, 2011.
Review by the French writer Michel Butor translated in English
„Kolarova, Vassilena :
– The author of a doctoral thesis on the interartistic phenomenon (“The interartistic phenomenon in the literary text / Montaigne’s Essays and Butor’s La Modification”.) at the New Bulgarian University in Sofia, Vassilena Kolarova worked on The Catalonian Garden, an artist’s book by Michel Butor and Georges Badin. Her work was presented at the Sozopole international conference on 13 September 2006. On this subject, you can read the article ” The Paradise of Dreams … The Catalonian garden…” on Georges Badin’s website, where you can find out more about the author’s work on Butor.
– ” Semantics of colours in “A Change of Heart” by Michel Butor “, Sledva, literary magazine, NBU University Press (New Bulgarian University), n° 11, pp.20-30, April 2005, published in Bulgarian.
– ” The inexpressible on America or the sublime of ineffable works “, Applied Semiotics / Sémiotique appliquée, An International Journal of Literary Research on the Internet, n°17, June 2006.
– ” The interartistic shimmer of Cyrillic letters and colours in Butor and Badin “, intervention at the ” Butor’s universe” conference in Belo Horizonte, 2011.“
https://dictionnaire.butor.ch/butorweb-g.html#lettre%20k
10. Review by the French painter Georges Badin
Textes de Vassilena Kolarova sur « Le Jardin Catalan »
Dans le cadre de sa thèse de doctorat sur le phénomène interartistique à la Nouvelle Université Bulgare à Sofia, Vassilena Kolarova (Василена Коларова) a travaillé sur « Le Jardin Catalan », livre d’artiste de Michel Butor et Georges Badin. Ses travaux ont notamment été présentés lors du Colloque international de Sozopole du 13 septembre 2006.
- « Le paradis de rève … Le Jardin Catalan … » Article de Vassilena Kolarova sur « Le Jardin Catalan » en français/ en anglais / en bulgare (images scannées de l’article : pages 1 2 3 4 5), transparents de la conférence
- « L’indiscible sur l’amérique ou le sublime des oeuvres ineffables » Articlede Vassilena Kolarova publié dans la revue Applied semiotics juin 2006
- Courte bio-bibliographiede Vassilena Kolarova février 3, 2007
- Review by the French painter Georges Badin translated in English
Texts by Vassilena Kolarova on “The Catalonian Garden”
As part of her doctoral thesis on the interartistic phenomenon at the New Bulgarian University in Sofia, Vassilena Kolarova (Василена Коларова) worked on “The Catalonian Garden”, an artist’s book by Michel Butor and Georges Badin. Her work was presented at the Sozopole international symposium on 13 September 2006.
- “The paradise of dreams … Le Jardin Catalan …” (in French) Article by Vassilena Kolarova on “The Catalonian Garden” in French / English / Bulgarian (scanned images of the article: pages 1 2 3 4 5), slides from the conference
- « The inexpressible on America or the sublime of ineffable works » Article by Vassilena Kolarova published in the magazine Applied semiotics juin 2006
Vassilena Kolarova’s short bio-bibliography
PUBLISHED: February 3, 2007
http://www.georgesbadin.com/texts/textes-de-vassilena-kolarova
11. Kolarova, Vassilena, « La touche intermusicale de la peinture ‘La Nausée’ de Sartre », in Revue d’art et de littérature, musique, Numéro 37 – avril 2008, mensuel, Mazères – France
http://lechasseurabstrait.com/revue/spip.php?article1864
Quoted by Nuraisyiya Nuraisyiya – Academia.edu, 2016
De l’engagement à l’absurde
…L’interférence et l’interaction entre les arts fait naître le phénomène interartistique qui fonctionne au niveau global du texte, de même qu’il influence le livre à venir que Roquentin écrira. (fiche tirée de l’article “La touche intermusicale de la peinture. La Nausée de Sartre de Vassilena Kolarova https://www.lechasseurabstrait.com/revue/spip.php?article1864
Quotation by Nuraisyiya Nuraisyiya translated in English
From engagement to absurdity
… The interference and interaction between the arts gives rise to the interartistic phenomenon that operates at the overall level of the text, just as it influences the forthcoming book that Roquentin will write. (from the article “La touche intermusicale de la peinture. La Nausee de Sartre by Vassilena Kolarova) https://www.lechasseurabstrait.com/revue/spip.php?article1864
https://www.academia.edu/9728878/De_lengagement_%C3%A0_labsurde
12. Kolarova, Vassilena, “The Interartistic Concept in Kandinsky’s Paintings The Image/Text problem” in Amsterdam International Electronic Journal for Cultural Narratology, autumn, N 4 2007, http://cf.hum.uva.nl/narratology/a07_kolarova.htm
Quoted in :
Моtа, Marcus, Saturday 30 March 2019, “In her article “The Interartistic
Concept in Kandinsky’s Paintings. The Image/Text problem.”
Vassilena Kolarova, Link: http://cf.hum.uva.nl/narratology/issue004_index.html
http://kandinsky2017.blogspot.com/2019/03/?m=1
13. Kolarova, Vassilena, The Interartistic phenomenon through Montaigne’s Essays, Peter Lang, Bern, 2018, p. 336 ISBN : 978-3034333177
Quoted in
Persee – digital library, scientific journals in French, created by the French
Ministry of National Education.
Bibliography for Montaigne, Montaigne, Michel de (1533-1592), Documents
(2269), Documents dans Sudoc.abes.fr in Persée, CNRS, Université de Lyon,
ENS, Ministère de l’Éducation Nationale,
ISSN 2104-3655 (Online), © 2005-2021 Montaigne, Michel de – Persée
https://www.persee.fr/authority/973520
14. The Interartistic Phenomenon as an Intermedial Structure in the Arts, in Applied Semiotics, Sémiotique appliquée, Une revue internationale de recherche littéraire sur Internet, Numéro 20, Volume 7, Sémiotique et Intermédialité, février 2008, Toronto, Canada
http://www.chass.utoronto.ca/french/as-sa/ASSA-No20/Article2en.html
Quoted in:
Bibliology & Iconotextuality, Interdisciplinary studies on the relationship between texts and images, Marina Garone Gravier y María Andrea Giovine Yáñez, editoras, Universidad Nacional, Autonóma de México, México, 2019, ISBN: 978-607-30-1422-9
„Siguiendo el concepto de “intertextualidad” ampliamente trabajado por Julia Kristeva y Jean Genette, Kolarova Vassilena, en su artículo “The Interartistic Phenomenon”, plantea una metodología para el estudio de las relaciones interartísticas.“ Quoted on p. 76
Quotation by María Andrea Giovine Yáñez translated in English :
[The term interartistic phenomenon: “Following the concept of “intertextuality” widely worked by Julia Kristeva and Jean Genette, Kolarova Vassilena, in her article “The Interartistic Phenomenon”, proposes a methodology for the study of interartistic relations”.] Quoted by María Andrea Giovine Yáñez in “Relaciones iconotextuales en la poesía” quoted on p. 76
https://www.iib.unam.mx/files/iib/libros-electronicos/Bibliologia__e__iconotextualidad.pdf
15. The Interartistic Phenomenon as an Intermedial Structure in the Arts, inApplied Semiotics, Sémiotique appliquée, Une revue internationale de recherche littéraire sur Internet, Numéro 20, Volume 7, Sémiotique et Intermédialité, février 2008, Toronto, Canada
http://www.chass.utoronto.ca/french/as-sa/ASSA-No20/Article2en.html
Quoted in :
Susana González Aktories from College of Modern Literature, Faculty of Philosophy and Literature National Autonomous University of Mexico (UNAM), Laboratory of Extended Literatures and Other Materialities in „Iconotextualidad e intermedialidad como coordenadas para el estudio de las materialidades literarias“, [Iconotextuality and intermediality as coordinates for the study of literary materialities.] Bibliology & Iconotextuality, Interdisciplinary studies on the relationship between texts and images, Marina Garone Gravier y María Andrea Giovine Yáñez, editoras, Universidad Nacional, Autonóma de México, México, 2019, ISBN: 978-607-30-1422-9:
„A propósito del concepto de “intertextualidad”, vale aquí referir a las reflexiones que sobre la relación entre artes plantearon en sus respectivos estudios introductorios Heinrich Plett, ed., en Intertextuality (Berlín y Nueva York: De Gruyter, 1991) y Peter Wagner, ed., en Icons-Texts-Iconotexts: Essays on Ekphrasis and Intermediality (Berlín y Nueva York: De Gruyter, 1996), y recientemente a los artículos de Vassilena Kolarova: “The Interartistic Phaenomenon as an Intermedial Structure in the Arts”, Applied Semiotics 7/Sémiotique Appliquée 7, núm. 20 (19 de febrero de 2008): 15-28, http://french.chass.utoronto.ca/as-sa/ ASSA-No20/Article2en.html, y “The Interartistic Phaenomenon”, en Form and Symmetry: Art and Science, Buenos Aires Congress 2007, ed. de Peter G. Marteinson y Pascal G. Michelucci (Buenos Aires: Sociedad de Estudios Morfológicos de la Argentina / isis- Symmetry Faculty of Architecture, Design and Urban Studies, 2007), 284-287, breve texto publicado en las memorias del congreso Form and Symmetry: Art and Science (Buenos Aires, 2007), que ofrece una metodología para el estudio de las relaciones interartísticas y“, Quoted on p 26.
Quotation by Susana González Aktories translated in English :
[„With regard to the concept of “intertextuality”, it is worth referring here to the reflections on the relationship between the arts made in their respective introductory studies by Heinrich Plett, ed. in Intertextuality (Berlin and New York: De Gruyter, 1991). and Peter Wagner, ed., in Icons-Texts-Iconotexts: Essays on Ekphrasis and Intermediality (Berlin and New York: De Gruyter, 1996), and recently to the articles by Vassilena Kolarova, ed.: “The Interartistic Phaenomenon as an Intermedial Structure in the Arts”, Applied Semiotics 7/Sémiotique Appliquée 7, núm. 20 (19 de febrero de 2008): 15-28, http://french.chass.utoronto.ca/as-sa/ ASSA-No20/Article2en.html, y “The Interartistic Phaenomenon”, en Form and Symmetry: Art and Science, Buenos Aires Congress 2007, ed. de Peter G. Marteinson y Pascal G. Michelucci (Buenos Aires: Society for Morphological Studies of Argentina. / isis- Symmetry Faculty of Architecture, Design and Urban Studies, 2007), 284-287, short text published in the proceedings of the conference Form and Symmetry: Art and Science (Buenos Aires, 2007), which offers a methodology for the study of interartistic relations „…“.]
16. The Interartistic Phenomenon as an Intermedial Structure in the Arts, inApplied Semiotics, Sémiotique appliquée, Une revue internationale de recherche littéraire sur Internet, Numéro 20, Volume 7, Sémiotique et Intermédialité, février 2008, Toronto, Canada
http://www.chass.utoronto.ca/french/as-sa/ASSA-No20/Article2en.html
Quoted in:
Susana González Aktories, „Iconotextualidad e intermedialidad como coordenadas para el estudio de las materialidades literarias“, Bibliology & Iconotextuality, Interdisciplinary studies on the relationship between texts and images, Marina Garone Gravier y María Andrea Giovine Yáñez, editoras, Universidad Nacional, Autonóma de México, México, 2019, ISBN: 978-607-30-1422-9, „Kolarova, Vassilena. “The Interartistic Phaenomenon”. En Form and Symmetry: Art and Science, Buenos Aires Congress 2007, edition of Peter G. Marteinson y Pascal G. Michelucci, 284-287. Buenos Aires: Society for Morphological Studies of Argentina / isis- Symmetry Faculty of Architecture, Desing and Urban Studies, 2007. “ , Quoted on p. 39.
https://www.iib.unam.mx/files/iib/libros-electronicos/Bibliologia__e__iconotextualidad.pdf
17. Kolarova, Vassilena, « Le phénomène interartistique », in Semiotica, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, n 180, Toronto, 2010, pp. 19-45, ISSN: 1613-3692, Le phénomène interartistique (degruyter.com)
Quoted in :
Vocabulario crítico para los estudios intermediales hacia el estudios de las literaturas extendidas, Susana González Aktories, Roberto Cruz, Arzabal Marisol García Walls, Editors Facultad de Filosofia y Letras Universitad Nacional Autónoma de Mexico, First Edition October, 2021 D.R. © National Autonomous University of Mexico ISBN: 978-607-30-5139-2, https://ru.atheneadigital.filos.unam.mx/jspui/bitstream/FFYL_UNAM/5830/1/Vocabulario%20cri%CC%81tico%20para%20los%20estudios%20intermediales.pdf
Copyright (c), 2021
Quoted by Susana González Aktories, Roberto Cruz, Arzabal Marisol García
Walls in “Intermedialidad”:
„En este contexto, resulta también muy relevante la ampliación del enfoque bajo el que se estudiaba la relación entre artes, por ejemplo, en el trabajo de Vassilena Kolarova y lo que definió como el “fenómeno interartístico” (2010)“, quoted on р. 7.
Quotation translated in English:
„In this context, the broadening of the approach under which the relationship
between the arts was studied, for example, in the work of Vassilena Kolarova and
what she defined as the “interartistic phenomenon”, is also very relevant.” (2010)
“, quoted on р. 7.
18. Kolarova, V. “ Montaigne and the interartistic phenomenon”, Paris, EHESS, 2010, http://www.theses.fr/2010EHES0115.
Quoted in :
Grafiati, Bibliography for Montaigne, Michel de Montaigne (1533-1592),
Literature and Theory of Literature, 1533-1592, Philosophy. Grafiati is an online
bibliography manager designed to create references and lists of works cited.
“This thesis studies the works of Montaigne that form the corpus of the research – the Essays and the Travel diary. We demonstrate the existence of the interartistic phenomenon in the historical context of the Renaissance and its evolution through ancient thought (Horace-Ut pictura poesis, Philostratus-ekphrasis), Renaissance thought (Leonardo da Vinci and the paragone) and modern thought from a theoretical point of view. The interartistic phenomenon expresses the relationship between the arts in the same place and at the same time, during the singular aesthetic perception of a work of art. The aim of the research is to study Montaigne’s work as a work of art in the first instance. We analyse the varieties of the interartistic phenomenon in all its manifestations in Montaigne, given the artistic lexicon he uses to describe his work. We discover the evolutionary line for the elaboration of the interartistic conception of his work, due to the rapprochement he made between nature and art, especially during his trip to Italy.
The thesis examines the works of Michel de Montaigne focusing the research on his famous “Essays” and “The Diary of Montaigne’s Travels”. The author of the thesis manifests the existence of the “interartistic phenomenon” in the historical context of the Renaissance and its evolution from ancient philosophy (Horace -Ut pictura poesis, Philostrate -ekphrasis) through Renaissance thought (Leonardo da Vinci’s Paragone (“comparison of the arts”)) to modern ideas whereas the research is done from a theoretical point of view. The “interartistic phenomenon” expresses the relation arising between arts at the time of an aesthetic perception of a work of art. The aim of the research is to study the work of Montaigne as a work of art in first place. The varieties of the “interartistic phenomenon” which exist in the work of Montaigne are analyzed in light of the artistic vocabulary he is using to qualify his work. The author of the thesis takes notice of the interartistic conception in the work of Montaigne revealed by the convergence of nature and art, particularly in the diary of Montaigne’s travels.”
https://www.grafiati.com/en/literature-selections/montaigne/ Copyright (c), 2022.
All rights reserved.
19. Kolarova, Vassilena.,”The interartistic phenomenon as an intermedial structure in the arts”, From: Applied Semiotics/Semiotique appliqué(Issue 20), Publisher: University of Toronto Mississauga, Department of Language Studies, http://www.chass.utoronto.ca/french/as-sa/
Quoted in:
Gale Academic is an online bibliographic manager designed to create
reference and works cited lists, an online bookstore for the distribution of
academic literature
OneFile, link.gale.com/apps/doc/A181815505/AONE?u=anon~9f588924&sid=googleScholar&xid=8018d874. Accessed 15 June 2022. Gale Document Number: GALE|A181815505
“The interartistic phenomenon as an intermedial structure in the arts
From: Applied Semiotics/Semiotique appliquée (Issue 20)
Publisher: University of Toronto Mississauga, Department of Language Studies
Article Preview:
Key words: Intertextuality–Julia Kristeva, Michail Bakhtin, Gerard Genette, Roland Barthes, and the author’s idea about the interartisticity; intermediality. Center for Research on Intermediality; interart–Florent Albrecht; intersemioticism–Jacques Fontanille
*********
The overflowing of shades between literature, painting and music
In this study of the interartistic phenomenon we shall chronologically follow the development of the definitions related to this notion, and while arranging them, we shall take into account their significance for the germination of this interartistic vision, connected to the emblematic personality of Julia Kristeva, and whose chief definition is intertextuality. We shall refer also to the works of Gerard Genette and examine the definition of transtextuality introduced by him, which he terms as literature of second degree and which by content is closer to the concept of interartistic phenomenon. Intertextuality correlates to a very wide stream of philosophical thought during the entire Twentieth Century, with wonderful precedents, dating back to ancient times.
This intellectual thought was known as early as its emergence in the 70s and does not need any elaborate presentation in this study, considering the notoriety of the “semiotic adventure” (Bart). Our study is directly affected by intertextuality and therefore we shall devote to it well-deserved attention. Intertextuality embodies a practice open in time, subjected to constant changes triggered by the structuring of the text as it used to appear, by complementing it to achieve a finished look in the future.
According to Kristeva, poetic language is also a language of dialogue (dialogical principle–of interdiscoursivity). The smallest unit of meaning ranges from 0 to 2, i.e. there is an interval that allows to escape from the meaning of the current language, and which gives more freedom of interpretation. The meaning of the signifier is dynamic. Generating meaning to the infinity of the paragramme may be illustrated by a triangle, reminiscent of the one of Peirce. The triangle may be viewed as three-dimensional since it is polyvalent in its connotations at each point. This gives rise to the meaning that linearity is impossible, the meaning generates.
We shall concentrate on certain excerpts from the text of Kristeva, directly relating to the interartistic problem, even though on a global level: We may find the relation between the two signifiers: picture / text or text / picture, in any field, by interpreting the literary text as artistic, in the following excerpt: “… dialogical signifiers … Each narrative … contains this dialogical dyad …, which is rendered to a dialogical relationship Signifier/Signified, The Signifier and the Signified being the one in relation to the other, each in turn, Signifier and Signified, but this is just a game of overturning two Signifiers. Only through some narrative structures this dialogue, this dual presence of the sign, this double meaning of the written text, are exteriorized in the organization itself of the (poetic) discourse, at the level of occurrence in the (literary) text.”
The textual picture is more and more visualized, stretching to infinity. Kristeva talks about the picture of text at a moment of reorganization; the picture comes to life from the shuffling of texts…”
© 2022 Gale, part of Cengage Group
20. Kolarova, Vasilena.Interartistichnii︠a︡t fenomen: Prez “Opiti” na Monten, “Mobile” na Bi︠u︡tor, “Katalonskata gradina” na Bi︠u︡tor i Baden… [s.l.]: Prostranstvo & forma, 2007.
Quoted in :
Grafiati, bibliography for Montaigne, Michel de Montaigne (1533-1592), Literature and theory of literature, 1533-1592, Philosophy. Grafiati is an online bibliographic manager designed to create references and lists of works cited,
https://www.grafiati.com/en/literature-selections/montel-theorem/book/,
https://www.grafiati.com/en/literature-selections/montel-theorem/book/,
Copyright (c), 2022.
All rights reserved.
21. The Interartistic phenomenon through Montaigne’s Essays, Peter Lang, Bern, 2018, ISBN: 978-3034333177
Quoted in:
Grafiati, bibliography for Montaigne, Michel de Montaigne (1533-1592), Literature and theory of literature, 1533-1592, Philosophy. Grafiati is an online bibliographic manager designed to create references and lists of works cited.,
https://www.grafiati.com/en/ Copyright (c), 2022.
All rights reserved.
22. Le phénomène interartistique, in Semiotica, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, Toronto, 2010, 19-45, ISSN: 1613-3692
https://www.degruyter.com/journal/key/semi/2010/180/html
http://dx.doi.org/10.1515/semi.2010.029,
Quoted in:
Grafiati, bibliography for Montaigne, Michel de Montaigne (1533-1592), Literature and theory of literature, 1533-1592, Philosophy. Grafiati is an online bibliographic manager designed to create references and lists of works cited, https://www.grafiati.com/en/ Copyright (c), 2022.
All rights reserved.
23. Review by the Italian publisher Aracne editrice:
“Vassilena Kolarova is a doctor of literature. Her PHD called “The interartistic phenomenon through ‘Essays’ of Montaigne” is introducing the concept of interartistic phenomenon, in Arts and languages, EHESS in Paris in 2010. Her concept of interartistic phenomenon differs from intertextuality since it affects only arts and from interartiality because the interartistic phenomenon explains from theoretical point of view the fundamental relationship between arts in any artistic area in an interartistic way. The author published in Paris, Albi, Sofia, Toronto, Amsterdam, Buenos Aires etc., Applied Semiotics, Sémiotique appliquée, Une revue internationale de recherche littéraire sur Internet, Numéro 17, Volume 7, Sémiotique, religion et idéologie, « L’indicible chez Michel Butor , L’indicible sur l’Amérique ou le sublime des œuvres ineffables », juin 2006, Toronto, Canada ; Passage d’encres, N 27, “ Le Paradis de rêve…Le Jardin Catalan… », Paris, février 2007 ; Amsterdam International Electronic Journal for Cultural Narratology: The Interartistic Concept in Kandinsky’s Paintings. The Image/Text problem, autumn, N 4 2007 ; La touche intermusicale de la peinture La nausée de Sartre, Revue d’art et de littérature, musique, Numéro 37 – avril 2008, mensuel, Mazères – France ; Revue Semiotica, Le phénomène interartistique, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, Toronto, 2010 ; “Le chatoiement interartistique des lettres cyrilliques et des couleurs chez Butor et Badin”, intervention au colloque “L’univers Butor” de Belo Horizonte, 2011 ; Syllabus article, Volume 3 (1) 2012, Les figures de style interartistiques à travers les Essais de Montaigne, Université de Yaoundé, Cameroun.”
https://www.aracne-editrice.it/index.php/autori.html?auth-id=250930
24. L’indicible chez Michel Butor, « L’indicible sur l’Amérique ou le sublime des œuvres ineffables », in Applied Semiotics, Sémiotique appliquée, Une revue internationale de recherche littéraire sur Internet, Numéro 17, Volume 7, Sémiotique, religion et idéologie, juin 2006, Toronto, Canada, ISSN 1715-7374
Quoted in :
Catherine Jill Annabel, ‘Perdu dans ces filaments’ : Labyrinths and Intertextuality in Michel Butor and WD Sebald, A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The University of Sheffield, United Kingdom, Faculty of Arts and Humanities, School of Languages and Cultures, 30 September 2021.
Quoted by Catherine Jill Annabel:
Kolarova, Vassilena, ‘L’Indicible sur l’Amérique ou le sublime des œuvres
Ineffables’, Applied Semiotics (2006), [accessed 25 August 2021],
University of Toronto. Department of French Studies- ISSN 1715-7374, quoted
on p. 241
https://etheses.whiterose.ac.uk/30956/1/Annabel%2C%20Catherine%20130127477%20final.pdf
25. Kolarova, Vassilena, “The Interartistic Concept in Kandinsky’s Paintings The Image/Text problem” in Amsterdam International Electronic Journal for Cultural Narratology, autumn, N 4 2007, http://cf.hum.uva.nl/narratology/a07_kolarova.htm
Quoted in:
Mota, Marcus, Entre Música e Pintura, Kandinsky e Composição Multissensorial, Editora Universidade de Brasilia, Brasilia , 2021, ISBN 978-65-5846-015-2, quoted in Referêrencias, on p. 214
- KOLAROVA, Vassilena. The Interartistic Concept in Kandinsky’s Paintings: The Image/Text problem. Amsterdam International Eletronic Journal for Cultural Narratology, n. 4, 2007. Disponível em: http://cf.hum.uva.nl/narratology/a07_kolarova.htm. Acesso em: 26 jun. 2019.
https://livros.unb.br/index.php/portal/catalog/download/93/83/360-1?inline=1, https://livros.unb.br/index.php/portal/catalog/book/93
26. The Interartistic Phenomenon through Montaigne’s Essays, Peter Lang, Bern, 2018
Quoted in:
Kolarova, Vassilena, The Interartistic Phenomenon, Through
Montaigne’s Essays. New York, Frankfurt: Peter Lang, 2016; 336 p.
Quoted by Henk bij de Weg in Montaigne Bibliography
Montaigne Bibliography (bijdeweg.nl), © 2022 Henk bij de Weg’s website
27. The Interartistic Phenomenon through Montaigne’s Essays, Peter Lang, Bern, 2018
Quoted in:
„Las relaciones interartísticas han existido siempre a lo largo de la historia del arte. Sin embargo, fue en los años ochenta del siglo pasado cuando los términos “interartisti-cidad” e “interartístico” comenzaron a usarse de manera más contundente, gracias, por ejemplo, a los trabajos de Vassilena Kolarova. “
„Interartistic relations have always existed throughout the history of art. However, it was in the 1980s that the terms “interartisticity” and “interartistic” began to be used more forcefully, thanks, for example, to the work of Vassilena Kolarova.“, 2021, ISSN 1132-0265.
María Andrea Giovine Yañez, Instituto de Investigaciones Bibliográficas,
Universidad Nacional Autónoma de México, Estudios Literarios, “El giro
Iconotextual en las Letras mexicanas recientes (1960-2020). Apuntes para una
Historiografía”, in Philologia Hispalensis 35/2 (2021) 111-127, ISSN 1132-0265 quoted on p.112.
https://revistascientificas.us.es/index.php/PH/article/view/14317/17527
28. Kolarova, Vassilena, The Interartistic Phenomenon through Montaigne’s Essays, Peter Lang, Bern, 2018
Quoted in:
María Andrea Giovine Yañez, Instituto de Investigaciones Bibliográficas, Universidad Nacional Autónoma de México, Estudios Literarios, “El giro iconotextual en las Letras mexicanas recientes (1960-2020). Apuntes para una Historiografía”, in Philologia Hispalensis 35/2 (2021) 111-127, ISSN 1132-0265, quoted in Bibliographical references on p. 126
https://revistascientificas.us.es/index.php/PH/article/view/14317/17527
29. Kolarova, Vassilena, The Interartistic Phenomenon through Montaigne’s Essays, Peter Lang, Bern, 2018
Kolarova, Vassilena. The Interartistic Phenomenon: Through
Montaigne’s Essays. Nature, Science and the Arts 17. Lausanne: Peter Lang
Verlag, 2018. https://doi.org/10.3726/b13186.
Quoted in:
HyperEssays, Bibliography on the Essays of Michel de Montaigne,
This bibliography is an evolving record of Montaigne-related scholarship, 2023
https://hyperessays.net/bibliography-montaigne-essays/
30. Le phénomène interartistique, in Semiotica, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, Toronto, 2010, 19-45, ISSN: 1613-3692
https://www.degruyter.com/journal/key/semi/2010/180/html
http://dx.doi.org/10.1515/semi.2010.029,
Kolarova, Vassilena. 2010. “Le phénomène interartistique”. Semiotica 2010 (180): 19–45. https://doi.org/10.1515/semi.2010.029.
Quoted in:
Susana González Aktories, Roberto Cruz Arzabal, Marisol García Walls,
“Intermedialidad”, Literatura y artes, Intermedialidad, Arte y cultura,
Universidad, Nacional Autónoma de México. Facultad de Filosofía y Letras,
Referencias citadas, 2021
ISBN 978-607 30-51 39-2,
http://intermedialidad.filos.unam.mx/intermedialidad.html
Copyright © 2022 UNAM | Intermedialidad | 2023 Todos los derechos
reservados | Diseño TripleG
