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Ösvények. (II. részlet az Igazak című, készülő regényből)
Bene Zoltán's, Paths. Second Fragment From The Novel "Igazak".
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Bene Zoltán's, Paths. Second Fragment From The Novel "Igazak".
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The huge issue of identity representation in fiction seems to have gained ever more weight over the past decades by an unprecedented variety of problematics in the “ethnic writing” by authors from minority communities that have been marginalized before the favorable cultural shift occurred in the Canadian society of a recent past through more hospitable legislation. Such ethnic writers expand the social concept of identity more often than not by blending sexuality and race, nationality and ethnicity in their narrated experiences with the struggles for recognition and integration. Cultural division in such a society is the focus of this article, in conjunction with a Chinese family’s drama which particularly affects the child protagonist and her personal experiences during the process of acculturation in the novel Midnight at the Dragon Café by Judy Fong Bates.
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Forgách András - The Execution (Fragment from the novel "Zehu").
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George Orwell’s works bear a political tone. Burmese Days is not only a narrative of Burma’s historical past, but a sociological document in which the cultural and social specificities of the country feature prominently. His realism is undoubtful (“I write because there is some lie I want to expose, some fact to which I want to draw attention”, he would confess in Killing an Elephant) and telling the truth about his contemporary world was only the first stage before reaching the absolute visionary prowess of 1984 – a novel whose dystopian character has already been surpassed by reality. Besides learning from his criticism of imperialist politics, we argue that the lesson he gives in Burmese Days – about human relations and the horrible way in which corruption affects them is worthwhile learning.
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The article, which aims to analyze the world of women in the prose works of the contemporary Polish writer, falls within the scope of sociological studies of female artists. The author presents the artist, who is still little known to a wide audience – Liliana Hermetz, who debuted in 2014 with the book Alicyjka (the nationwide Conrad award for 2015). Hermetz shows the intimate world of women’s experiences, the courage and sensitivity of women experiencing traumas in life and everyday problems. It turns out that micro-matters, “bustle”, which was usually considered an unimportant subject, too trivial for literature, can be an interesting theme in artistic creativity. Hermetz shows women against the background of history that determines their fate, but at the same time catalyzes their strength, struggle for subjectivity and dignity.
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The review of: John Fuller. Loser (Nottingham: Shoestring Press, 2021). ISBN 978-1-912524-74-7
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The recurrence of the history, myths, legends and popular beliefs of Bosnia found in the novel The Bridge on the Drina by Ivo Andrić facilitates the study of its mythical and magical hypostasis. Starting from the main critical approaches focused especially on its quality of historical novel, we propose the analysis of this literary work through the prism of two types of discourse designed to highlight the mythical and magical consonants of this novel’s substrate. The research analyzes, first of all, the historical discourse based on the rendering of the significant events in the reality of Bosnia between the sixteenth and twentieth centuries. It coexists with the discourse that we have called mythic, which originated from local myths, legends and popular beliefs, and is also the object of study of the present paper. The insertion of myths, legends, archetypes of the Balkan area, magical realist elements and numerous fissures generate the mythical discourse. Organizing the argumentation according to the discourses identified reveals the particularities within the narrative. The fluctuations identified between mythization and demitization, between belief in the supernatural and the search for causality incline the balance in favor of the historical discourse, founded on the mythical one.
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Book-Review: Şalom Alehem, Întoarcerea de la iarmaroc, traducere de Olga Brates, Meer Sternberg, Iași: Polirom, 2018, 405 p., ISBN: 978-973-46-7728-3 (Raluca BOBOC)
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This paper aims to examine how a literary text is transferred to cinema, based on the example of Choi In-ho’s newspaper novel The March of Fools and its film adaptation by Ha Gil-jong. Here, adaptation is defined as the transfer of form and/or content from a source to a result, such as from a novel to a film, or any other adaptive compilation (Bruhn, Gjelsvik and Hanssen, 2013, p. 9). As Jorgen Bruhn writes, “should we not admit that the adaptive process is dialectical, and that the source text is changed in the process of adaptation as well?” (Bruhn, Gjelsvik and Frisvold Hanssen, 2013, p. 9). First of all, we will briefly present the author and the historical background at the time. Then, we will move onto the novel and its adaptation. At the same time, we will trace the presence of traditional elements in the literary text, as well as in its film adaptation, which stems from traditional Korean culture and classical literature.
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The paper analyzes Vlado Bulić’s novel “Putovanje u srce hrvatskoga sna” by observing its relationship with the poetics of the Croatian reality fiction as well as with the cultural paradigm of digimodernism proposed by the British cultural theorist Alan Kirby. Kirby claims that the key features of this new aesthetics are the construction of “the apparently real”, onwardness and convergence of the narrative and a new type of subjectivity which Kirby calls supersubjectivity. The paper presupposes that unlike the stable and privileged narrator which had dominated the stories and novels of the Croatian reality fiction, the subjectivity of Bulić’s narrator is shaped by the strong impacts of different types of discourses circulating the public domain and his fluid identity is the effect of the influence these discourses have on the individual. The analysis of the novel primarily focuses on the stylistics and textual features and procedures (e.g. interdiscursive and intermedial blending, digitalization of the narrative voice, virtualization of the text) due to which this novel represents a radical departure from the poetics of the Croatian reality fiction. By deconstructing the discourses that have been shaping the fabric of the Croatian social reality as well as the literary conventions that have enabled its mimetic transposition into literary texts, Bulić’s novel positions itself as the key text of the Croatian virtual realism.
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Review of: Maria Matios, Čerevyčky Božoji Materi (Pantofiorii Maicii Domnului), Lvov, Ed. Piramida, 2013, 208 p. (Maria Hoșciuc)
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With an impressively complex structure, a diversity of characters and themes, Pelevin’s novel The Life of Insects reveals itself as a social satire, which presents the paradoxical human nature at the intersection of insect biology and human psychology. Written in 1993, the novel depicts the transformations of the Russian national archetype, transformations made possible by the shift in the political and cultural paradigms of a nation that emerges from Communism to greet the new era of Capitalism. On this background, Pelevin discusses sensitive matters concerning the Russian society, thus questioning the much debated notion of Slavophilism among others, and draws attention to a more general theme, that of the human nature. The writer seems interested in revealing the continuous oscillation between the physical, more animalistic side, enforced by the wild capitalism, and the other philosophical, more introverted side, that emerges from the human cultural heritage. Combining highly contradictory elements – the concepts of the Newtonian paradigm and beliefs rooted in mysticism – the author creates collages which aim at recreating the hypothesis of a fragmented postmodern reality, found on the brick of chaos. The absurdity of existence, the diversity of elements, as well as the multitude of broken pieces of reality confer Pelevin’s writing the status of a traditional postmodernist novel.
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Viktor Pelevin is one of the most prolific writers in Russian literature, belonging to the postmodernist movement. Due to his unique style and originality in combining mythological elements from different cultures, Pelevin has been considered an unusual author, able to deconstruct previously established literary and cultural norms, so that the very next moment he could revive them or create new ones. His interest for Buddhism materializes itself in a series of novels and short stories which discuss different mythological themes. In the novel The Clay Machinegun, the author debates three main themes – life as an illusion, the theme of the void and the theme of reincarnation. The following article analyzes these elements from a postmodernist perspective, proving, thus, that the illusionary state of life reflects the subjective mental representations of reality, while the void is used by Pelevin to provide philosophical freedom to the individual. Also, through reincarnation, the author reveals the continuous recycle of human types and behaviors, noticed throughout history.
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Due to some critics’ disagreement regarding Viktor Pelevin’s writings, the main objective of this article is to analyze different literary processes which exist in the novels The Clay Machinegun and Generation P, in order to prove whether or not Pelevin is a Postmodernist writer. A start point in this research is to discuss the differences between Western and Eastern European Postmodernism, its basic traits which make this cultural phenomenon unique in Russia and, consequently, different from the same movement that appeared in Western Europe and the Americas. The research identifies and discusses the themes and the artistic features encountered in these novels and puts them in contrast with other writings as well. Also, a great attention is paid to the mystical realm, present almost in every novel or short story Pelevin writes.
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The Morphine is a very interesting novel about the traps of identity quest as well as about the perils of misused national stereotypes. Written in an alert and modern style, sometimes even psychodelic and hallucinatory, the novel denotes a great attention for details. Its author, Szczepan Twardoch, unravels and pursues the complicated fate of Konstanty Willemann, the son of a German officer of aristocratic ancestry and of a Silesian woman who turned „Polish”, second lieutenant in the Polish army, banqueter, artist, and morphine addict. For those who know him, Konstanty has a concrete, palpable identity assigned to him by a certain role that he plays in society, but Willeman himself feels he is a man without a face. He doesn’t truly know who he really is, and his development throughout the novel at the outbreak of World War II is defined by his quest for his own identity.
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In this literary critical approach we deal with Lyudmila Ulitskaya’s theme of tolerance exposed in the novels Daniel Stein, Interpreter and The Funeral Party. We underline the fact that her literary creations are deeply influenced by her Christian persuasion, although she was born in a Jewish family. We follow her examples in ethic, religious, political or sexual differences between human beings gathered in her literary humanist writings in the postmodern context.
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The works of Vladimir Nabokov, which fall into the category of writerly (scriptible) texts, as Rolandes Bartes, the French critic, calls them, targets a new type of readership, one that is capable of active participation in and genuine collaboration on the act of literary creation. Nabokov, once explained, literature as Art starts with mapping the territory that needs discovering, where every object must be named by its own name. One such way of getting to know the Nabokovian texts is through its symbols. Every symbol - that of paradise lost, of the nymphette, the garden, the butterfly, the eye, the labyrinth - can be used as the key to his texts, forming a semantic code that unites the semantic blocks in Nabokov’s writings, the latter assembled in a way that allows for countless combinations. The labyrinth is the semantic structure of one of the most important novels of Nabokov’s Russian writing: Invitation to a Beheading. Its network of meanings can only play endlessly on the text’s connotations.
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