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Ime: Elena Ferante
Elena Ferante: INTERVJU Branislav Živanović: NAPOLITANSKI KVARTET, DEO PRVI: MOĆ ŽENSKOG PRIJATELJSTVA
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Elena Ferante: INTERVJU Branislav Živanović: NAPOLITANSKI KVARTET, DEO PRVI: MOĆ ŽENSKOG PRIJATELJSTVA
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The topic of this article is the role of rebirth motive in the poetics of the novel «Black Yangar» by Karina Demina. The purpose of the article is to clarify the meaning and artistic features of the rebirth motif in the novel, as well as to identify the deep connection of genre with the folklore. Results of the study: we identified two main aspects of the motive: there are social transformations and animism, and we identified patterns of development in the fantasy genre and the ancient archetypal structures.
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In this personal essay, the author compares her academic experiences to those of characters in the campus novels she enjoys reading. The novels she discusses here share a thematic concern with happiness and all seem to indicate that professional fulfilment and academic status are not sufficient in order to achieve that state.
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Crimean author Cengiz Dağcı (1919-2011) is one of the prominent novelists of contemporary literature. Although his primary interest is writing novels, he has also given some examples of story and recollections writings. Korkunç Yıllar (Horrible Years), Yurdunu Kaybeden Adam (The Man Who Lost his Land), Onlar da İnsandı (They Were Human too), Ölüm ve Korku Günleri (Days of Death and Fear), Badem Dalına Asılı Bebekler (Babies Hanging on the Almond Branch) are some of his well known novels. With his novel O Topraklar Bizimdi (Those Lands Were Ours), he has impressed and got a fame within the readers of the Turkic communities. In this novel, he emphasises the importance of the value of the territory of the motherland which is bounded to the idea that owning a land or property, even if it is small one, is very important for human beings. Many people, who study in different fields of humanities and social sciences, have been influenced from the opinions of Mihail Bahtin, who is one of most important theorists of 20th century. He has created his own echol which is called Bahtin Cirle to study in the field of language philosophy, theory and history as well as the Russian formalism of novel. At the beginning Bahtin’s opinions were effective in the literatüre, but later on they spreaded out over the many fields such as philosophy, sociology and history. According to Bahtin’s view, a novel can be defined as an aesthetic activity through the relationship between the work and writer. He deals with a novel in different ways and claims that writers sometimes infiltrate into the kronotop of the work and shadows forth himself in the dialogues of the heroes of the novel. Here, we present a study titled “Estetik Etkinlikte Yazar-Kahraman İlişkisi Bağlamında O Topraklar Bizimdi Adlı Romanın Analizi” (Analysis of Novel Named Those Lands Were Ours in the Context of Relationship between Author and Protagonist in the Aesthetic Event); the novel named O Topraklar Bizimdi was anaysed based on the Bahtin’s view on relationships between writer and novels characters.
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Though often relegated to ancillary scholarly inquiry and overshadowed by the popularity of the novel typically at the centre of academic consideration and appreciation, short prose has captured the attention of contemporary critics who have rehabilitated it as a living form of literature and a valid subject for academic debate. Making his literary debut with two collections of short stories largely regarded as ‘shock lit,’ Ian McEwan has staged repeated comebacks to short prose throughout his career, a form that he has remodelled and refined in different manners and contexts. Centring on the writer’s early short stories as well as his more ‘mature’ novellas and his integration of the short story form into his lengthier works, my article discusses McEwan’s career-long interest in the short form and the ways in which he handles the genre, evolving from his initial shocking tales devoid of all morality to more ethically infused and self-reflexive renditions of short fiction.
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In the paper dedicated to prof. Jerzy Jarzębski I deal with the transformations in experimental narrative in contemporary prose, especially with ways of using pronouns and gender forms. I concentrate on the interpretation of novels written by Zbigniew Kruszyński, Olga Tokarczuk and Jacek Dukaj, whose shared main feature are the relocations of grammatical forms of the text. Mixed narrative forms (pronouns “we” and “you”, reflexives, transformations of the neuter gender, etc.) open new possibilities of worldview and self-identity.
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This essay discusses feminist readings of the concept of silence; then it analyzes women’s silence in three Asian-(American) works. ‘Silence’ is discussed from different perspectives such as the context, which obliges women to silence themselves willingly, or situations where women are silenced, forcefully, by external factors, and it investigates how women seek to voice their oppression. The analysis will virtually open a new horizon as the essay shows whether attempts at vocalization are possibly rewarded, or punished. Not only does this essay cover works by males as well as females, but it also covers a number of genres such as the novella, the short story, and the novel. This essay discusses Junzo Shono’s The Dance (trans., 1992), a Japanese short story, Julie Shigekuni’s A Bridge Between Us (1995), a JapaneseAmerican novel, and Su Tong’s Raise The Red Lantern (trans., 1993), a Chinese novella.
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The review of: Mate Grbavac, Zemlha Hercegova, roman, DHK HB Mostar i OMH Čitluk, Ljubuški 2019.
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The review of: Stanislav Bašić: Rane priče, Hrvatsko kulturno društvo Napredak Zadar, Zadar 2018.
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Walter Benjamin je zapisao da jedino može imati smisla – i kritičkog smisla takođe – delo koje bi bilo kolaž citata, fragmenata, odjeka drugih dela. Enrique Vila – Matas, najprevođeniji španski romansijer, pripovedač i esejista, pridodaje i ovo: Potom sam pročitao Paulsovu Drugu ruku i postao još spokojniji kada sam saznao da je Borges bio izuzetno kreativan i lukav primer književnog parazitivizma. Za početak, odnosno cilj osvrta, više nego dovoljno. Kako je Montanovo zlo rukopis, najpre zanimljiv iz činjenice da je Pisac sklon da o svemu razmišlja iz ugla književnosti – čak i kada se nalazi na tremu s koga posmatra Pacifik – i kako je započet u obliku dnevnika pripovedne proze, i sam ovaj esej započinjem dnevničkom beleškom. E da... Ovo je prva beleška, u tekstu. I jedina ove vrste, da se razumemo! [...]
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Sam autor Gospođe Edwarde skrenuo je pažnju na ozbiljnost svoje knjige. Zapisi na temu seksualnog života tretiraju se međutim obično olako, pa mi se zbog toga čini dobro da se na tome zadržim. Ne jer bih se nadao - ili kanio - išta promijeniti. Nego od čitatelja svog predgovora tražim da razmisli načas o tradicionalnom stavu prema užitku (on u igri spolova doseže ludi intenzitet) i prema boli (nju smrt umiri, istina, ali prvo dovede do najgoreg). Okolnosti nas u cjelini vode k tomu da od čovjeka (od čovječanstva) stvaramo sliku koja je daleko od krajnjeg užitka i jednako od krajnje boli: uobičajene zabrane pogađaju, jedne, seksualni život, a druge smrt, pa su oboje formirali sveto područje, područje koje spada u religiju. Kad su ozbiljan aspekt dobile jedino zabrane koje se tiču okolnosti nestanka bića, a one koje se tiču okolnosti nastanka - svaka genitalna aktivnost - shvaćene su olako, počelo je ono najmučnije. [...]
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For twenty years, a large number of works have been devoted to studying the inclusion of literature in space and the representation of places in literary texts. This interest in space issues seems to fit in both the evolution of literary genres, characterized by an increasing spatialization of narrative forms, and the development of artistic practices related to the creation of literary maps. After what has been termed the spatial turn in literary and cultural studies, critics have focused their attention on the relationships among space, place and mapping in literature. This aspect is one of the most interesting themes in the field of Geocriticism. This paper aims to study this “convergence” between literature and cartography, examining the textuality of literary maps and, in particular, their rhetorical dimension. Literary maps can represent the story setting, allowing the author to build a fictional world that readers explore with the characters.
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The article offers a discussion of Europe’s space within contemporary migration novelists. It presents a dual vision of Europe’s image. If the immigration aspirant thinks it is a promise land with her great achievements, in the minds of those who manage to make it into her land, she is far from the home of success and self-fulfillment. Rather, the analysis inspires a continent where is paving way for the decay of social values. Our analysis shall follow a two way axis: the mirage construction end the deconstruction of paradise Europe.
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The novel The Neruda Case is the story of the origins of Cayetano Brulé, the detective who appears in all black novels created by Roberto Ampuero, the Chilean writer whose work is essential in this sub-genre within contemporary Latin American literature. This article focuses on the analysis of the metaliterary relationship between the character of Brulé, his fictional link with the poet Pablo Neruda and the context that Ampuero creates around the biography of the poet. In this novel Neruda is a literary character not only for his poetic creation, but for having led a life in the multiplicity of their stories, facilitating literary speculation.
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The central theme of Rachilde’s Les Hors Nature, written at the peak of French nationalism, is the confrontation between two nationalities, representing two cultures, two homelands and two personalities. The novel describes two opposite positions: a cosmopolitan one versus a traditional and historical one. Rachilde, despite her open anti-German declarations during the two World Wars, seems here inclined to much more moderate opinions. She does so in her own way, combining ideological statements with a wish to be original and provocative.
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For Atiq Rahimi, the Afghan-born Prix Goncourt winner French-language writer, belonging to two different cultures and languages is an inexhaustible source of inspiration. Therefore, it is no coincidence that all his works are based on some form of hybridity (cultural, genre, identity, language, etc.). The analysis of Rahimi’s novel titled Syngué Sabour (2008) shows that the main organising element of the text is its genre hybridity. The present study aims to investigate the contribution of this hybridity to French literature. The analysis has a double objective: firstly, it seeks to unfold the various intertwining art. forms (theatre, cinema, music) and writing modes (stage direction-like mode of writing, cinematographic mode of writing, minimalist prose) embedded in each other. Secondly, it examines in what ways the novel combines the poetic and narrative features of the Western minimalist novel with the symbolic and allegorical layers of meaning of Eastern tales. Finally, the study attempts to determine the functions of the genre hybridity resulting from the intercultural and transcultural features of the corpus and to detect the additional layers of meaning that the genre hybridity provides in the novel.
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This paper aims to link the writing of F.T. Marinetti’s Mafarka il futurista with the “great contest for an unpublished italian novel” proposed by the literary magazine Poesia. The negative ending of this competition raises several aesthetic issues, similar to the ones that may have guided the father of Futurism in writing his first novel. Therefore, it is possible to confirm the precocious interest of the Italian avant-garde in the novel genre.
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This article argues that in his collection of short stories England and Other Stories (2014), as in most of his fiction, Graham Swift is preoccupied with the limits of language, with what remains unsaid or is poorly communicated. In this volume, the writer’s focus on private, domestic and ordinary lives corresponds to his representation of the language of everyday interaction as essentially non-creative and formulaic. Swift’s deliberately clichéd language reflects what, as contemporary studies of discourse reveal, is a standard mode of social interaction. For example, Roberta Corrigan et al. affirm that linguistic formulae should be considered as yet another manifestation of behavioural routines (xxiii-xxiv), while Alison Wray claims that the reliance on formulaic language “predominates in normal language processing” (Formulaic Language 101). A range of uses of formulaic language is analysed in selected stories from the collection. It is demonstrated that, typically, characters choose prefabricated language for the paradoxical purpose of establishing and maintaining a degree of contact with others while avoiding in-depth interaction.
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This work deals with intertextual segments of The Rise and Fall of Icarus Gubelkian by Borislav Pekić. Special attention is given to intertextual relations this novelette establishes with The myth of Daedalus and Icarus, The Prometheus myth and Ecclesiastes. This work’s goal is to examine how relations are established between The Rise and Fall of Icarus Gubelkian by Borislav Pekić and Greеk myths, on the one side, and The Bible, on the other. Thereby, the work relies on the context of the Second World War where the action of this novelette is located. On the basis of this, Pekićʼs critique of ideology and totalitarian social systems are analyzed.
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