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The continuously transforming contemporary world has built a complicated stage for acting out the concept of postmodern novelistic fiction. Against a background shaped by a permanent clash between modern and postmodern discourses, contrasting perspectives mould a changing medium for the process of novel construction. The article illustrates a new vision of the postmodern fiction as a new ground for reshaping human identity.
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In the literature of Mircea Eliade, crystallized in Gnostic imagery evoking apparently secret histories, whose purpose is to reveal the existence of the sacred in the profane plan. Both the secret history and the way to the sacred center is not accessible than the initiated,but lived in secular and therefore enslaved to daily life. Characters in Eliade’s novels live a gnoseologic adventure, crossing various stages which correspond to stages of initiation in order to detach the profane and reach a higher level of knowledge – the sacred. Knowing this mystery can not be achieved only by chosen and subjected initiation, only he has the privilege of being able to save the soul, being trapped in the prison of the body material. The way from material to spiritual supposes an esoteric ritual that character endowed with the capacity to discern the signs which are, follows step by step.
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This article tries to explain all the new techniques and themes brought by Mircea Eliade in his work, both in novels or scientific studies. The author built his novels as na diary, preferring the first person and the novel like a real confession. He also believed that the literature is the only one which can preserve the sacred into the profane world we have been living. The myth is also able to live though literature, so that his novels have as a central filed at least one mythological issue. Eliade considers that the living, the experience and the authenticity are new forms of a positive and new mentality.
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This paper represents a short excursion through the labirinth of "narrative forest" in order to analize the mythical values of the Mateiu Caragiale’s novel, even if not so deeply backgrounded. The myth which we have identified may be considered relevant for the substantiality of this novel, in spite of its hidden means, waiting for being revealed by a myth‑analitical interpretation. We tried to view beyond the realistic features, so that we have associated the imaginary voyage of Pantazi around the whole globe with the myth of Great journey.
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The beauty of the work of Marin Preda evident today, the fascination lies in the journey of a novelist several instances of truth rarely sought and found. The characters are turned to face the future, but being defeated not kill, do not destroy it expects new hopes and ideals are in November. Reply lively discourse in fiction, literary dialogue known novel of the twentieth century complex metamorphosis. In the dialogue Marin Preda’s novels, the characters do not talk as talking in reality, but as if actually speak. The situational contexts are valued aspect of popular and familiar language, and regional and slang. Marin Preda discovered the most ingenious methods of transposition and written correspondence, the most appropriate forms of spoken language. Transposition and in case of literary narrative text dialogue remains a matter of re‑creation,selection and interpretation and, ultimately, a matter of personal style.The valence of love is lonely in that passage of brotherhood intruder, to that of the prodigal and despisers, because true love is the love of death "simple phenomenon in nature, normally a last chance to live".
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This paper analyse the way in which Henrik Ibsen and Camil Petrescu present an illusory game of cognitive system. The freedom of thinking offers the premise of creation which here has the role of changing the human being. Everything which appears in the shadow of time can be seen as a gregarious system, and the stereotipie amplifies the anguish of not being himself. The release from time leads to the identification of the spontaneous dimension which outlines the characters and they will be transposed, beyond their inner struggle, in middle of the intelectual effort, accepting the death. The spiritual life of the characters is seen as a photo inside of an univers which contributes to the creation of essential moments of fights
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We are going to discuss and analyse a diachronic presentation of literary character. The character is a major literary category of epic or dramatic work with the action, the narrator, the time and the space. In the historical evolution of the literature, the becoming of the character had his configuration in different epochs. Only reading we can know (discover) a literary character.
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L’écrivain et l’essayiste Laurent Jenny parle de la modernité littéraire, de la pertinence des genres littéraires, de l’autobiographie et l’autofiction, de l’esthétique contemporaine et de son dernier livre La Brûlure de l’image. L’imaginaire esthétique à l’âge photographique, paru aux éditions Mimésis. The writer Laurent Jenny speaks about the literary modernity, about the importance of literary genre, about autobiography and auto-fiction, about the contemporary aesthetics and about his latest book, The Burning of the Image. Aesthetic Imaginary in the Age of Photography.
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Cette étude se concentre sur l’analyse du roman autobiographique Dedans, dehors (2010) de l’écrivaine franco-tunisienne Sophie Bessis. Voix féminine très connue en France et sur la scène internationale, elle y évoque son enfance joyeuse, son engagement dans la révolution et sa condition d’exilée qui constitue le véritable fil rouge de la narration. L’exil est décrit comme une condition douloureuse, un état de migration permanente, d’identité flottante, qui implique un voyage qui ne finit jamais. This study focuses on the analysis of autobiographical novel Dedans, dehors (2010) by Franco-Tunisian writer Sophie Bessis. Historian, journalist, researcher, and feminist author well known in France and on the international scene, she evokes her happy childhood, the commitment to the revolution and the exile which is the leitmotif of the story. Exile is described as a painful condition, a state of permanent migrancy, of wavering identity, that implies a journey that never ends.
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Two series premiered in 2017: British-American Taboo and Polish Belle Epoque. The year is not the only similarity – based on the statements by Edward Miszczak, head of programming of the TVN channel, resemblance was sought and even intended. Similitude in the main character’s image as well as the starting point of the story lines proved to be misleading. A closer look at both shows reveals that the only feature that they have in common is their rootedness in popular (and vernacular) cultural traditions: in Taboo intentional and visible references to political fiction, film noir aesthetics, graphic novel and heist movie; in Belle Epoque (topical but also stylistic) resemblance to popular gutter circulation novels (dime novels) on Polish territory at the turn of 19th and 20th centuries.
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This article outlines creation and presentation of Jewish characters in the roman The Doll by B. Prus through the prism of imagology studies. Presented article is focused on theory of imagology and by using its methods it attempts to analyze how author have created and presented Jews in his monumental work and which devices he used to do so. The aim of this short study is to show how chosen characters are presented and which elements did author use to create them.
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Kiran Desai’s critically acclaimed novel, The Inheritance of Loss, intertwines narratives of the lives of three characters: the judge, haunted by his past, is joined by his granddaughter Sai in his house in north-eastern India, while the son of his cook is working illegally in America. Published in 2006, the novel has mostly been analysed in the light of diaspora studies and praised for its author’s questioning of the effects of globalisation and immigration when leaving home. Yet what is also worth examining is the way in which some of the characters of the novel, including the judge, inhabit their chosen homes as foreigners or, to be more specific, as surrogate Britons in their country of origin, creating a separate community of anglophiles. The “solace of being a foreigner in [their] own country” (29) is but one of their rewards in their attempts at mimicking a British way of life. If the houses of the novel are set in independent India, this article questions the extent to which they could be read as counterparts to the British country house, relating them to values of continuity, tradition and Englishness. While anglophile characters take the British country house as model for their own Indian houses, their nostalgia is for a British home they never knew or owned. Their experiences of immigration can only lead them to create a pastiche of an English country house, which relies on a mythified vision of England. Their acceptance of English values and social hierarchy turns them into foreigners in their own country, seemingly blurring the definitions of “home” and “abroad”. Their reliance on the model of the British country house further points to the ways in which The Inheritance of Loss parodies the genre of the English manor house novel and the way it relies on colonialist norms.
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The present paper aims to present the way in which Marin Preda had a different approach to the traditional world, in which people are dominated by a different mentality. His novel, entitled “Moromeții”, reveals an authentic vision of the world, derived from principles as simple as they are confident in understanding and interpreting its major aspects. The predian character – Moromete – is confronted with a world in disrepair, which fights to the last breath to preserve ancestral traditions and customs. The ancestral village that used to work after the old ordinances no longer exists.
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Reality in Angela Carter’s magical realist novels is depicted through the deployment of numerous picturesque details that correspond to the readers’ experiential reality, differentiating such a world from non-realist forms. Though the magical realist fictional world is akin to the one outside of the fictional reality, the mode’s strategy still differs from that of traditional realism due to the absence of a purely mimetic role. Initially serving to establish what Roland Barthes termed l’effet de reel (the effect of reality), the city in Carter’s novels is indeed constructed according to the principles of magical realism and creates plausible links between textual and extratextual realities. Further inclusion of magical, uncanny elements into such a world, in one respect, leads to the creation of excentric spaces that promote the position of the marginalized Other and allow alternative outlooks on life to gain prominence. A hybrid reality that is the ultimate result of the coexistence of the normal and the uncanny leads to the subversion of what Carter saw as patriarchal stereotypes, primarily due to the fact that it problematizes and ultimately negates their very foundation. In other words, if we cannot agree on the criteria for what is real, how can we trust the ultimate authority of any other criteria? The city in Carter’s novels thus acts as a suitable literary venue for revealing the author’s ideological position
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Literary text (prose): Душан Јевтић, ОКУЛТНИ САВЕЗ СРБИЈЕ (одломак из романа) / Dušan Jevtić, OKULTNI SAVEZ SRBIJE (odlomak iz romana)
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