In natural language using short sentences is considered efficient for communi- long-range correlations in texts and appearance of multifractality indicates that they carry even a nonlinear component. A distinct role of the full stops in inducing the long-range correlations in texts is evidenced by the fact that the above quantitative characteristics on the long-range correlations manifest themselves in variation of the full stops recurrence times along texts, thus in SLV, but to a much lesser degree in the recurrence times of the most frequent words. In this latter case the nonlinear correlations, thus multifractality, disappear even completely for all the texts considered. Treated as one extra word, the full stops at the same time appear to obey the Zipfian rank-frequency distribution, however.

This is a peer-reviewed article in Digital Studies/Le champ numérique, a journal published by the Open Library of Humanities.

The paper defines liberature (Pol. liberatura) as a distinct literary genre whose constitutive feature is an organic unity of the linguistic content with its material form. It discusses the difference of the postulated genre from “the artist’s book” in which the emphasis lies on the visual rather than textual component. Through a discussion of works of Bryan Stanley Johnson, Stéphane Mallarmé, James Joyce and contemporary Polish writers, Zenon Fajfer and Katarzyna Bazarnik, it addresses the question of iconic qualities of liberature, and places the concept in the context of earlier theoretical reflection, especially, Carl Darryl Malmgren’s notion of iconic space in the novel. In particular, iconic compositional space can be identified as a touchstone for the liberatic character of a literary work.

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Belfast murals are one of the landmarks of the city. They constitute a peculiar medium of communication, mixing word and image in a powerful ideological message. They express highly emotional content, and have been addressed to original target audiences of republicans and loyalists. In this respect they have served to refl ect and infl uence sentiments of the communities involved in the confl ict, and as a communal memoir commemorating crucial events, thereby contributing to their ethnic identity formations. However, as Northern Ireland has been undergoing the peace process, the murals are becoming one of the city's tourist attractions. As such, they are encountered by audiences unaware of intricacies and nuances of local history. This paper examines how their complex verbo-visual rhetoric aff ects this type of audience, and how, in a reciprocal process, political tourism may have an impact on the murals' style and content.