In his article “Drums of Doubt: On the Rhythmical Origins of Poetic and Scientific Exploration” Caius Dobrescu argues that even though the sciences and arts of doubt have never been connected to the notion of rhythm, doubt is a form of energy, and more specifically, a form of vibration. It implies an exploratory movement that constantly expands and recoils in a space essentially experienced as uncharted territory. Poetry acquires cognitive attributes through oscillatory rhythmic patterns that are explorative and adaptive. In order to test this hypothesis, the essay focuses on the nature and functioning of free verse. This modern prosodic mutation brings about a dovetailing of the rhythmic spectrum, but also, and more significantly, a change in the very manner of understanding and experiencing rhythm. Oscillatory rhythms are broadly associable with entrainment indexes that point to the adaptation of inner physiological and behavioral rhythms to oscillatory environment stimuli. Free verse emerges from the experience of regaining an original explorative, adaptive, and orientation-oriented condition of consciousness.
The topic of Otherness has been investigated from the point of view of popular culture and popular fiction studies, especially on the basis of the multiracial social environments of the United States. The challenges of addressing real or potential conflicts in areas characterised by an ethnic puzzle are to some extent similar, but at the same time differ substantively from the political, legal, and fictional world of “race.” This paper investigates these differences in the ways of overcoming ethnic stereotyping on the basis of examples taken from post-World War II crime fiction of Southern Europe, and Middle East. In communist and post-communist Eastern Central Europe there are not many instances of mediational crime fiction. This paper will point to the few, although notable exceptions, while hypothesizing on the factors that could favor in the foreseeable future the emergence and expansion of such artistic experiments in the multiethnic and multicultural province of Transylvania.
The crime series Bron/Broen [The Bridge], co-produced in 2011 by the public televisions of Denmark and Sweden, located at the centre of the bridge over the Øresund/Öresund maritime strait which represents the border between the two states, offers one of the most prolific thematizations of in-between-ness in the popular culture of the last decade. The fact that it struck a chord of global collective imagination is revealed in its quick transformation into a highly successful international TV format, relocated on various other state borders. More than a theme, the series proposes an entire aesthetics of the in-between organized around the symbolic constellation of the bridge. A bridge simultaneously divides and reunites, generates empathetic fusion but also ushers in reflexive distancing. But, above all, as it is narratively and poetically framed in the series, it transgresses its common understanding as a connective interspace and tends to become a world to itself. A rather dangerous one, for that matter, since within its confines the usual distinctions between right and wrong are seriously called into doubt. From a space of transit, the bridge becomes – the distinction is essential – a space of transition, of change, of becoming. A space replete with risks but, essentially, a space of freedom. The essay attempts to unpack political implications less explored until now of this core symbolism.1