**9. Conclusion**

As a way of summarizing, we would like to conclude by saying that in that constructive process, art proved to be, owing to its powerful realism, ideally suited to the development of contemporaneous events, and especially to the sense of rupture with the past. Artists became highly politicized and resorted to media artifacts to reconstitute a new social order and a new citizen concept by the systematic and regular arrangement of events, celebrations, festivals, and by fostering popular journalism, republican clubs and a myriad of artistic vehicles in an attempt to interlace a tight ideological web. This network was ruled by a sort of language consecrated to fix the proper boundaries of the new social and political fabric. As we have seen throughout this paper, intermediality can be pointed up as a brand new type of symbolism attuned to the people, as well as a new mass medium for the time. The brotherhood among words, images, or sounds helped people pass through the national experience and project themselves into the future, immortalizing France meanwhile.

As shown throughout this paper, intermediality proves to be a very useful resource in the hands of politicians, at any time in history, to arrange and give form to the social body. This comprehensive strategy explains to what extent all of us are immersed in a culture that is delimited and circumscribed by discourses that fix for people beforehand what they are supposed to think, feel or how to react to specific forms of art. Liberation and independence from ideological structures only comes afloat when we become more self aware of their *modus operandi* and are able to develop in turn a plan of action to transcend them. (For more information on the concept of intermediality, please see Tötösy, López-Varela, Saussy, and Mieszkowski 2011).

#### **10. References**

B. de Huszar, George, ed. *The Intellectuals*. USA: Free Press, 1960.


argues in *The Psychology of Revolution* where he declares that despite the rational origins of any social and political upheaval, any cataclysm is only unchained when its arguments have been transformed into sentiments and are ripe for galvanizing the crowd. The unique vehicle that can give man the power to act comes from the energy of affective and mystic factors in charge of sustaining political and religious beliefs. Furthermore, this kind of beliefs constitutes an act of faith unfolded in unconsciousness over which reason has no command and all effort is thwarted. This explains why this act of faith, which can be equated with an absolute truth, becomes inevitably intolerant and why in the name of conviction people are eager to sacrifice all, even their life. Though all great revolutions start from the top and the elite is the point of departure, revolutionaries were acquainted with the fact that the multitude was the agent that would make the disorder progress. In order to reach this goal, they strove to erect the multitude into a mystic entity on which all powers,

As a way of summarizing, we would like to conclude by saying that in that constructive process, art proved to be, owing to its powerful realism, ideally suited to the development of contemporaneous events, and especially to the sense of rupture with the past. Artists became highly politicized and resorted to media artifacts to reconstitute a new social order and a new citizen concept by the systematic and regular arrangement of events, celebrations, festivals, and by fostering popular journalism, republican clubs and a myriad of artistic vehicles in an attempt to interlace a tight ideological web. This network was ruled by a sort of language consecrated to fix the proper boundaries of the new social and political fabric. As we have seen throughout this paper, intermediality can be pointed up as a brand new type of symbolism attuned to the people, as well as a new mass medium for the time. The brotherhood among words, images, or sounds helped people pass through the national

experience and project themselves into the future, immortalizing France meanwhile.

B. de Huszar, George, ed. *The Intellectuals*. USA: Free Press, 1960.

Amsterdam: Rodopi, 2006.

As shown throughout this paper, intermediality proves to be a very useful resource in the hands of politicians, at any time in history, to arrange and give form to the social body. This comprehensive strategy explains to what extent all of us are immersed in a culture that is delimited and circumscribed by discourses that fix for people beforehand what they are supposed to think, feel or how to react to specific forms of art. Liberation and independence from ideological structures only comes afloat when we become more self aware of their *modus operandi* and are able to develop in turn a plan of action to transcend them. (For more information on the concept of intermediality, please see Tötösy, López-Varela, Saussy, and

Chapple, Freda and Chiel Kattenbelt, eds. *Intermediality in theatre and performance.* 


*Performance.* Ed. Freda Chapple and Chiel Kattenbelt. Amsterdam: Rodopi, 2006.

virtues and adulation were conferred (Le Bon 2007: 12-40).

**9. Conclusion** 

Mieszkowski 2011).

**10. References** 

11-26.

	- Hutchinson. London: Oxford University Press, 1994. 70-76.

Punzi, Maddalena P. *Literary Intermediality.* Germany: Peter Lang, 2007.


**5**

*1India 2Spain* 

**Western and Eastern Ur-Topias:**

In Western civilization, the prefix 'Ur' is often used as metaphor to refer to a primitive, seminal, or prototypical example of an artistic representation, concept or idea. The associations of the word can be traced back to Sumerian sources and the origins of Indo-European civilization. Ur is considered by many to be the city of Ur-Kasdim mentioned in the Book of Genesis as the birthplace of the patriarch Abram (Abraham). The existence of cities can be traced back in antiquity to the important role of communities such as Memphis, Babylon, Thebes, Athens, Sparta, Mohenjodaro or Anuradhapura, among others. Rome was perhaps the first city to reach a population of one million around the time of Christ. Only in 1800 did London become the second city to reach this size. At that time only

Communities are not just defined in political and economic terms: cultural issues, perceptions, and foci contribute to give identity to the community, whether a village, a city, or a nation. Mirrors of cultural change, artistic representations offer insights into the way humans have transformed their living spaces. Works by artists, poets, novelists, visual artists, etc., helps unveil the distinctiveness in the way communities are viewed. The term mindscape, used to refer to human communities, refers to structures for thinking about human spaces built on conceptualisations of their physical landscape, whether urban or rural, and more recently virtual, as well as on their images as transported through cultural representation,

Mindscapes, whether cityscapes, landscapes or hyperspaces are, among other things, patterns of attitudes and ritualized behaviour; networks of human connections, of customs and traditions inscribed in certain practices and discourses, both internal and external. They suggest the "raw material for the symbols and collective memories of group communication" (Lynch 4), being "among other things, a state of mind, an order of morality, a pattern of attitudes and ritualized behaviour, a network of human connections, and a body of customs and traditions inscribed in certain practices and discourses." (Zhang 3-4) J. Hillis Miller has proposed that every narrative without exception, even the most abstract one, "traces out in its course an arrangement of places, dwellings, and rooms joined by paths and roads" (Miller 10),

memory, and imagination in different media formats. (see López-Varela & Net 2009)

**1. Introduction** 

two percent of the world's population was urbanized.

**Communities and Nostalgia** 

Anjan Sen1 and Asun López-Varela2

*2Universidad Complutense Madrid,* 

*1National Tagore Scholar,* 

Reichardt, Rolf and Hubertus Kohle. *Visualizing the Revolution.* UK: Reaktion Books, 2008.

