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İKİ, ÜÇ DAHA FAZLA KIYAMET… (KARANLIĞIN YÜREĞİ'NDE 'KIYAMET')

Author(s): Savaş ÇOBAN / Language(s): Turkish Issue: 01/2013

The main theme of this article is the narrative and stylistic affinities between Francis Ford Coppola's "Apocalypse Now'' and its movie adaptation of Joseph Conrad's 'Heart of Darkness'. Both works of art are compared in many ways according to the things they express, the language which is used, images and music. Imperialism and war that constitute the background of these two works of art have taken a lot of interest both as a novel and a film. The book describes the journeys that Captain Williard takes in the dark forest and deep swamp and in the middle of the war fields in order to kill Colonel Kurtz who is a rebellious soldier, a crazy and dangerous man who has become a kind of half man and half god. A nightmare journey which is in horror and madness of the war turns into a narrative which includes malice that root in human souls. There are some concerns about both authors in Condrad's and Coppola's texts as follows: What are the moral issues of imperialism? What are the things that suit human nature? Do we all keep a secret with the charm of hatred.We have tried to set a critical look on these two works of art which the political approach of the film's screenplay writer and the author of the book is clearly stated in. In this sense, via the creators of those works through a novel and its film adaptation, they try to impose their own truths with their points of view in their period. In this respect, there is a need to have a look again to these two works of art and their writers. We have used the elements of Marxist criticism in this anew look.

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Drakula u zrcalu: Upisivanje ideologije u gotički roman

Author(s): Ljubica Matek,Sabahudin Međedović / Language(s): Croatian Issue: 1/2017

Bram Stoker’s Gothic novel, Dracula can be seen as a political text which comments on the social and political reality of Victorian England. The novel relies on the aesthetics of transgression both in its structure, which is epistolary and provides for multiple points of view, and in its contents, which describes the appearance of a supernatural being – the vampire. Supernatural events and characters symbolize the fear of moral decline that may occur as a consequence of contact between the dominant Victorian culture and colonial cultures, enabled by Britain’s colonial endeavours. The character of Dracula functions in most cases as a part of the subtext, a danger one does not see, but feels. He is a symbol of the fear of potential reversed colonialization and of the dangers of female emancipation, both of which represent a threat to the anglo-centric patriarchal hierarchy. As such, Dracula (and the contact with the East that he represents) symbolizes a threat to the tradition and stability of the British Empire which finds itself in a schizophrenic situation: on the one hand, Britain desires the new, as is seen through the scientific and technological progress, as well as progressive cultural phenomena, such as the idea of female equality. On the other hand, the promising future is burdened by an uncertainty that scares the British as it represents a step away from the position of a symbolic center of imperial power and away from patriarchy. Stoker’s novel is thus revealed as one of key texts which, paradoxically, represents Victorian ideology through the representation of ultimate otherness in the form of a monster.

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Диалог Франции и России во французской литературе

Author(s): Raisa Ivanovna Teleshova,Oksana Alekseevna Dubnyakova / Language(s): Russian Issue: 4/2017

Introduction. The relevance of studying of the dialogues of cultures in the art text dues to interest of humanitarian knowledge to “another” image with conservation on national identity and cultural originality. The review of theoretical sources of native and foreign science shows us that a representation of the image of Russia (Russian world, Russians) comes down mainly to the identification of national stereotypes in the texts of writers who do not have a personal Russian life experience. Authors of this article tried to identify the possibilities of influence of artistic text to a bilingual reader from the point of view of interaction of cultures. The purpose of the ar-ticle is delimitation of recurrent elements of the image of Russia in French literature of the second half of XX – the beginning of XXI century based on works of Henry Troyat, who combined in his mind artistic values of French and Russians. Materials and Methods. We are using a complex approach, combining a conception of dialogism of M. M. Bakhtin, principles of receptive esthetics and structural semantic analysis. Artistics texts of H. Troyat present the dialogue of author with both the reader and the culture of two countries significant for him. Investigator, as main recipient of literary work, enters to conversation with author and allocates valuable elements of Russian image. Results. The authors of the article prove that a model of the world built on a collision of two cultures and spaces forms an inseparable fabric in analyzed texts and is used by author for creation of image of Russia. In the labor it is proved that by using the mechanism of the dialogue of cultures the French writer H. Troyat acquaints the Russian culture to a French-speaking reader and presents Russian mentality in the context of French culture to the Western World. The most significant component of Russian image is the description of Russian soul which explains causes of behavior of Russian people. We consider the heroes of artworks as mediator of the intercultural dialogue, which comes as source of various cultural information about the country. Conclusion. Works of bilingual writers blessed with biculturalism gift contribute to mastering and comprehension of a new cultural area, to the development of a different cultural space built on the clash of different cultures, so called the world without borders. The studying of works of A. Troyat has the special importance in modern educational space, gaining multicultural character with a preservation of own cultural identity.

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(BE)SMISAO VREMENA U ODABRANIM DJELIMA WILLIAMA FAULKNERA I MEŠE SELIMOVIĆA

Author(s): Selma Raljević / Language(s): Bosnian Issue: 2/2014

The purpose of this paper is to compare the modern concept of time by “placing” William Faulkner’s (1897-1962) novels: The Sound and the Fury (1929), Light in August (1932), Absalom, Absalom! (1936), Go Down, Moses (1942), and Meša Selimović’s (1910-1982) prose works: Death and the Dervish (Derviš i smrt, 1966), The Fortress (Tvrđava, 1970), The Island (Ostrvo, 1974) and Memories (Sjećanja, 1976). The aim of this paper is to compare the perception of time in the selected prose of these two writers within the context of the sum of combined intelligences. The topic will be explored by applying the thoughts of Einstein, Nietzsche, Bergson, Eliade, Freud and Jung. In their modern literary works, both Faulkner and Selimović transpose time into space, and time/space becomes a major player in their works. Accordingly, special attention will be given to the perception and (non)sense of time and space in their modern prose.

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Раз-сказывание [raspričavanje] хaрактера

Author(s): Anica Vlašić-Anić / Language(s): Russian Issue: 1-4/2000

Harms’s case “The Blue Notebook No 10”, which is a cisfinite miniature about the infinity of human non-existence, is seen by the author as an a-rational (IT = NON/IT) creative inovation: the defictionalisation of the narrative convention of the character, up to the point of cisfinite zero. Particular attention is drawn to the polemical intertextual “collisions” (The OBERIU Declaration) of Harms’s reddish-brown man with a canonized pattern of the classic Russian realistic (and socrealistic) characterisation (the ‘outer’ and the ‘inner portrait’; procedures, actions). Simultaneously, the ‘demimesis’ of the reddish-brown man destroys the traditional mimetic model of character structuralisation of the European romanesque production. Naturally, with a strong emphasis on the realistic model, which has already become an object of destruction — in the dadadistic avant-garde palimpsests (poeme simultane, dadaistic collage and photomontage, ready-made) as in the romanesque fiction of, for example, F. Kafka, J. Joyce, W. Faulkner, J. P. Sartre, A. Camus. As the defictionalisation of the character the universal epic literary convention in “The Blue Notebook No 10” becomes metapoetic DEFICTION/DEMIMESIS of the character as described by Aristotle in his Poetics.

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‘Her Room Was Her World’: Nellie Sloggett and North Cornish Folklore

Author(s): Simon Young / Language(s): English Issue: 2/2017

Nellie Sloggett (1850–1923) was a Cornish novelist and, under the name Enys Tregarthen, a folklore writer. This article* has four aims. First, to bring together all the biographical information about Sloggett. Second, to make the point that Sloggett’s writing is useful for folklorists: she has, since her death, been neglected even by south-western scholars. Third, to situate her work in the broader British and Irish folklore movement: her corpus offers some unique challenges. And, fourth, to provide a hand-list of her books and her other writings to facilitate further research. It is hoped, too, that some of the reflections on the geography of folklore collection will have a wider application.

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КАКО ВРЕМЕ ПРОЛАЗИ (ВРЕМЕНСКА ДИНАМИКА ОДВИЈАЊА РАДЊЕ У УСМЕНИМ ЕПСКИМ ПЕСМАМА)

Author(s): Dragoljub Ž. Perić / Language(s): Serbian Issue: 3/2015

The basic aim of this paper is to show how in a summary the passing of time is presented in epic poetry. The suggested categorization of the types of narrative time, therefore, depends on the model to which the given variant belongs (motivational or chronicle), the way of structuring the summary (i.e. the presence or absence of a firm organizational principle - the typical thematic-motive chain, formulative summary, etc.), and different procedures of the “opening” of narrative time or its “closure” in the “epic” past. Continuous time flow is the most frequent type of the conceptualization of time and is conditioned both by cause-and-effect string of events and by the structure of the summary (“narrative composition”, i.e. the sequence of narrative segments inside a specific thematic-motive chain). If the sequence of events has the character of consecutiveness, this is successive development of events. The discontinuity of narrative time is most often present in those poems which track the biographical time of the characters that belong to different generations, i.e. where the motive of the generation shift is introduced, or where the story branches into two or more parallel courses.

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ТЕРМІНОСИСТЕМА ЖАНРУ АЛЬТЕРНАТИВНОЇ ІСТОРІЇ В ХУДОЖНІЙ ПРОЗІ

Author(s): Anistratenko Antonina / Language(s): Ukrainian Issue: 1/2019

The article is devoted to the Term-inological system of alternative history genre in fiction. The article’s goal is to determine the identity and the way of genre and stylistic features of the alternative history genre forming the special complex of terms and this finding means article’s novelty. Functioning in the sphere of the European myth in the arts area of post-modern novel in Ukraine and in foreign literatures, creating a new world view sources, the basic literary terminology get the new layers of terms in and use to use them in the renewed profile. Genre scheme of historical novel successfully works for alternative history writings. Alternative emerged in the historicism field, that shifted history. Methods of research. For analyzing and dividing the terminology genesis is used statistic and descriptive method, for the classification terminological items is used comparative method and analytical principle.

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Dialectică şi romantizare (Romantism şi revoluţie simbolică II)

Author(s): Laurenţiu Hanganu / Language(s): Romanian Issue: 2 (30)/2019

This article examines the relationship between Novalis’ ‘romanticization’ and the conceptual mechanisms of Hegel’s dialectics proceeding from the fundamental change of vision and thinking represented by the European Romantic movement. Having as its theoretical horizon the idea of symbolic revolution, described and defined in the first part of this study (see Hanganu 2018: 47–55), together with the new perspective on the phenomena of historical mutation and transformation formulated by Gilles Deleuze and Félix Guattari, the article points out that, despite the essentially different perspectives of poetry and philosophy, both Novalis’ romanticization – the core idea of the poet’s ‘magical idealism’ – and Hegel’s dialectics reflect the same process of reversal of perceptive and axiological patterns that characterize a symbolic revolution. In contrast with Hegel’s dialectics though, where what is negated is canceled and preserved at the same time (aufgehoben) in a superior unity, the romanticization implies a simpler (but all the more necessary) process of ‘alternation of mounting and descending’ (Wechselerhöhung und Erniedrigung) – a transfer of significances and a reversal of axiological polarities that do not have as a result a world born logically from the previous one. Considered this way, the idea of romanticization anticipates the considerations of the poststructuralists Gilles Deleuze, Jacques Derrida or Maurice Merleau Ponty on the complex relationship between negation and alterity. At the same time, Novalis’ romanticization grasps better than Hegel’s dialectics the essence of a symbolic revolution: according to the poet, the change of symbolic order is not a transition from one symbolic order to another, but from one order into another, or, better said, of one order through another. That is, not evolution or (dialectical) development, but reversal and swapping: the transformation of ‘in-itself’ into ‘out-of-self’ and vice versa – Alice’s passing through the looking-glass.

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Zaboravljeno putovanje – tragovi utisnuti u bajkama (I deo)

Author(s): Dragana Kršenković Brković / Language(s): Serbian Issue: 1-2/2010

Fairy tales of the 19th and 20th century have their origin in traditional stories, and traditional and contemporary stories share common features. These stories, remembered over the ages, reveal the core of people’s deepest experience and the key to discovering timeless truths. This paper considers direct correlations between traditional and modern stories, both of which deal with collective experiences and the projection of people’s unconscious visions and hidden desires. Also, this paper explores discrepancies between approaches of classical and contemporay fairy tales to the world they describe, to different ways of shaping a story, and to different ideas about time and place and about humans and the supernatural.

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Bridging the two cultures: literary studies through the looking glass of cognitive science

Author(s): Jean Francois Vernay / Language(s): English Issue: 2/2019

In this survey article, Jean-François Vernay purports to retrace the genesis of Cognitive Literary Studies and examine its potential to bring scientific insights to the study of literature. More specifically, his reflexion attempts to determine whether Cognitive Literary Studies is able to bridge “the excitement of connecting scientific principles with a love of literature”, as Peter Stockwell has it. Vernay explores the cognitive and literary intersections through which the cognitive paradigm in Literary Studies is helping to redefine the boundaries between literary and scientific knowledge, renew literary criticism and reconsider one of the defining traits of fiction. What might be dismissed as an umpteenth interdisciplinary approach may in fact hold the key to discarding blue-sky conceptions of fiction while giving teachers and book professionals a cogent and much-coveted argument for the usefulness of literature.

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An Insight into the Inhumanity of Humanity with Thomas Keneally

Author(s): Melisa-Ginela Porge / Language(s): English Issue: 1/2019

This paper discusses one of the most troubling and abominable subjects in the history of the world – The Holocaust, and its representation in fiction, examining Thomas Keneally’s Schindler’s Ark, a novel seen as an artistic response to the atrocities of the genocide, to the inhumanity of humanity. Keneally’s work reflects the origins of this almost unaccountable, unbearable and unimaginable phenomenon, as well as the entire program of severe measures and murderous actions took by the Third Reich against the European Jew, the racially inferior, the Other.

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KONCEPT PROSTORA I VREMENA U SREDNJOVJEKOVNIM VIZIJAMA NA PRIMJERU TUNDALOVE VIZIJE

Author(s): Gordana Galić Kakkonen / Language(s): Croatian Issue: 1/2008

There is a noticeable spatialisation of time present in the visionary texts dealing with the concept of the otherworld. Past, present and future are allocated and closely related. In medieval prose, space and time can be either strictly determined or completely ignored and unimportant. Only the happening itself is important, since it contains the eternal and the otherworldly. We can ﬁ nd both aspects in Tundal’s Vision. Despite the fact that Tundal’s Vision is thought to be one of the most developed and elaborated visions, it is noticeable how the organisation of the otherworld regions has not progressed in the way found in earlier visions. The idea of the otherworld’s integrity does not exist. Only the time and the space of the narrative can be ﬁ rmly established in the text.

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“How Cool Was Will Freeman?”: From the New Lad to the Postfeminist Man in High Fidelity and About a Boy

Author(s): Cristina Chifane / Language(s): English Issue: 8/2019

This article aims to investigate the concept of contemporary masculinities reflected in two of Nick Hornby’s novels belonging to the popular fiction genre and generally associated with the New Lad phenomenon. The novelty of the approach resides in the attempt to demonstrate that the protagonists of such novels carry with them the seeds of a transition process to the twenty-first century Postfeminist Man seeking to overcome the traumatic experiences of the past and to embrace the diversity and hybridity of the present. As a consequence, both Rob Fleming in High Fidelity and Will Freeman in About a Boy become exponents not only of the masculinity crisis at the turn of the new millennium, but also of a more flexible paradigm that allows them to acknowledge the failure of the New Lad phenomenon. When outer agents like Laura and Marcus shatter their defensive mechanisms, they can no longer cling to the self-ironical complacency and non- commitment policy of the New Lad. In other words, Rob Fleming and Will Freeman begin to reflect the image of the Postfeminist Free Man who is willing to accept the successive feminist waves and relearn the value of genuine interpersonal relationships to the detriment of a continuous obsession over the concepts of power, hierarchy and gender roles.

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The Theme of Exile in Chateubriand’s, Tocqueville’s and Beaumont’s American Romantic Texts. A Structural Analysis

Author(s): Eleftheria Karagianni / Language(s): English Issue: 8/2019

The present article constitutes an approach to the subject of intentional and involuntary exile in the romantic works “Atala”, René, Les Natchez by François-René de Chateaubriand, Course au Lac Onéida, Quinze Jours au Désert by Alexis de Tocqueville and Marie où l’Esclavage aux Etats-Unis by Gustave de Beaumont. Exile will be examined as a proof of love for the country (philopatrie), as a weakness or unwillingness of the French people to maintain their presence on the American soil, and as a farewell to the fallen nobility. My study will be based on the structural analysis of myth as developed and applied by the French anthropologist and ethnologist Claude Lévi-Strauss. The repeated components will be retrieved, classified and analyzed in order to demonstrate that the romantic devices and subjects used by the writers, are a mere pretext, a means through which Chateaubriand, Tocqueville and Beaumont transmit their philosophical ideas and socio-political ideologies regarding America and France.

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Mediating the Subjective Experience of a Troubled and Troubling World: Storytelling in Dystopian Novels by Margaret Atwood and Johanna Sinisalo

Author(s): Simona Klimková,Martin Boszorád / Language(s): English Issue: 8/2019

The paper seeks to examine different forms and functions of storytelling in two selected dystopian novels, namely Margaret Atwood’s The Handmaid’s Tale (1985) and Johanna Sinisalo’s The Core of the Sun (2016). Approaching the novels through the lens of dystopian fiction, the comparative analysis focuses on the use of language and storytelling as a form of resistance against oppression. Embedded in the very title of Margaret Atwood’s most famous novel, the motif of storytelling proves to be one of the central building stones of her narrative. Offred’s fragmentary, and often unreliable, tale not only provides a piercing portrait of a crude dystopian reality, it also symbolically challenges and undermines the authority of Gilead’s regime. Sinisalo’s Finnish weird novel also features a troubled young woman trapped in a dystopian system of government. She challenges and subverts the regime of the Eusistocratic Republic of Finland not only symbolically but also factually by secretly using and dealing the forbidden capsaicin as well as by living in disguise. Similarly to Atwood’s literary work, the narrative form of Sinisalo’s novel, largely defined by the protagonist’s subjective and fragmentary insights, provides a puzzle-like mediation of a firsthand experience of a troubled and troubling world.

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Locating Ben Okri’s The Age of Magic in a Cosmopolitan Framework

Author(s): Pooja Sancheti / Language(s): English Issue: 8/2019

In this paper, I explore the implications of the term “cosmopolitanism” and focus on the critical departures Kwame Anthony Appiah’s idea of “rooted cosmopolitanism” makes from the humanistic hue of cosmopolitanism. Appiah avers that cosmopolitan identities (encompassing local and global and everything in between) are based on the awareness of difference, but enabled through the desire to share narratives and stories. While Ben Okri, the Nigerian-British author has been hailed as cosmopolitan ever since The Famished Road (1991) was published, here I analyze his lesser discussed 2014 novel, The Age of Magic, and locate it in a cosmopolitan framework that is closer to Appiah’s own understanding of the term. The lineage of the protagonist, Lao (to Okri’s other fictional works), and of Mistletoe (to the myth of Pan), serves to instantiate the political and aesthetic imports of the cosmopolitan imagination of characters (and of the authorial figure of Okri); this cosmopolitan imagination draws with equal ease on African and European myth, magic, and cultural history. The geographical location in The Age of Magic also serves to exemplify an additional facet of the cosmopolitan aesthetic in question.

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Postnationalism and the Myth of England in Ondaatje’s Warlight

Author(s): Harlan Whatley / Language(s): English Issue: 8/2019

This paper argues that the effects of World War II and the debunking of the myth of England are critical themes in Michael Ondaatje’s Warlight, a novel of formation set in post-war London in 1945. As England’s notion of Pax Britannia dismantles, Warlight is a novel that undermines the very concept of nationhood in an era where the United Kingdom’s fervent quest for globalization and international representation is questioned. Moreover, this paper includes an analysis of the British bildungsroman and reviews the commonalities and differences between the European and British novels of formation. Both the British identity and postnational identity of the adolescent protagonist, Nathaniel Williams, are scrutinized. The primary source for this study is the 2018 novel, Warlight, by Michael Ondaatje, a Sri Lankan national who was educated in England and is now a Canadian citizen. Secondary sources include articles by bildungsroman scholars such as Tobias Boes, Jerome Hamilton Buckley, Bridget Chalk, Victoria Clarke, Mike Marais, and Franco Moretti. Sources on nationalism, postnationalism, imperialism and colonialism are used in this paper as well in order to prove the argument further.

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JOYCEOV FINNEGANS WAKE I MCCARTHYJEV REMAINDER: KODIRANJE I JEZIČKO RASLOJAVANJE

Author(s): Lamija Milišić / Language(s): Croatian Issue: 1-2/2019

The purpose of this paper is to consider the terms “code” and “language stratificati¬on” by analysing James Joyce’s Finnegans Wake and Tom McCarthy’s Remainder. A code is considered to be a transition from mimesis to meaning. The starting point of the analysis is the genre of Finnegans Wake and Remainder, and the state of fictional characters in these literary works. The paper argues that the fictional characters have a “rhetorically encrypted identity”, and furthermore considers methods with which this identity develops, and their consequences. The paper also shows how the technique of bricolage is used in Finnegans Wake and Remainder, and explains the connection between bricolage and encryption. The last part of the analyses explains the way in which Joyce’s and McCarthy’s texts use their literary language to self-reflect about the code the texts are written in. The code thus stays within the area of mimesis (and does not proceed to the area of meaning). This text also proposes the idea of a literary text as performative, which consequently changes the ontology of fictional characters in their respective literary works.

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Traditsioon ja avangard eesti kirjandusõpetuse kujunemisloos

Author(s): Katre Talviste / Language(s): Estonian Issue: 1/2019

The paper discusses two traditions that developed in the Estonian literary pedagogy of the twentieth century. The first one concerns the structure of the subject matter. Literature was taught as two separate sub-disciplines, one of them being Estonian literature and the other covering other literatures using varying terms. The composition of this other field of study has varied over time. The early focus on the Western canon, with a diversifying preference for neighbour literatures as well as other Finno-Ugric literatures, was fueled by the national romanticist ideology. It was then forcibly replaced by a strong priority for Russian literature and other Soviet literatures during the Soviet occupation. This shift was in turn in the 1990s followed by restoration of former priorities and updating of the learning content. The second tradition is that of a strong preference for bio-historicist narratives as learning content. This tradition was inspired by the early twentieth-century literary scholarship and was necessitated by the conditions of the Estonian literary field at the time: a relative lack of available translations and the general public’s limited literary education. Focusing on narratives of literary history created a tendency to perceive literature as a field of positivist knowledge instead of interpretive competences and activities. The Soviet literary pedagogy perpetuated that tendency. Finally, the paper describes the efforts of the twenty-first-century curriculum development that aims to change these two traditions. The goal is to introduce an integral view of literature, and to develop teaching of interpretive skills and critical reading. These elements have so far depended mostly on individual teachers’ efforts, without sufficient systematic support from literary scholarship in the form of adequately adapted skillsets. It is important that the academic discipline renew its own perspectives in order to contribute to the development of such skillsets for general education.

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