Construirea identității Generației Beat
This paper pursues the evolution and the avatars of the Beat Generation raison d'être starting from the manifesto This is the Beat Generation signed by John Holmes.
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This paper pursues the evolution and the avatars of the Beat Generation raison d'être starting from the manifesto This is the Beat Generation signed by John Holmes.
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Within science fiction the parasite has long provided a way to engage with bodily fears, however in recent years, our perceived relationship with these kinds of organisms have become increasingly cognitive and existential. Parasites that influence their host’s thoughts and behavior such as the Cordyceps fungus have become favourite topics for nature documentaries and science podcasts. This familiarity has given rise to narratives that utilize the parasite as an allegory of control, authority, and free will. Two works that embrace this are Playdead’s video game Inside (2016) and Shaun Carruth’s film Upstream Colour (2015), both featuring parasites that are systematically gestated within livestock to be later used in the mental domination of humans. Using a comparative methodology, this paper will examine the significance of animal farming and parasitic infection within both of these works as well as explore their metaphorical relationships with concepts of anthropocentrism, industrialization, hegemony, and dystopia.
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The aim of this essay is to examine the evolution of quantitative studies and the changes that occurred within their usage, portraying the international case as well as debating upon the existence and the relevance of a Romanian case. Given the fact that quantitative studies have become increasingly visible in literary studies during the last decades, due to various influences such as Franco Moretti’s theoretical branch or Matthew L. Jockers’ macroanalysis and its appropriation in digital humanities, a pertinent study on this methodology is necessary because: 1) it can contribute to a better understanding of the role it has had in this domain and 2) it can bring better insight into its possible use in our country. For these reasons, this essay is seeking to present a history of the quantitative methodological approach as applied on macro scales (therefore, the main domains discussed in this essay are the sociology of literature and digital humanities) and to describe the ways it has influenced or may further influence the study of literature in Romania.
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Having emerged in the late nineteenth century, the novel is a relatively new genre in Turkish literature. However, this belatedly-introduced genre offers rich material to explore patterns of gender identity construction. This paper proposes to discuss the understudied role of gender representations in the formation of the Turkish novelistic canon. My argument is centred around a basic question: Does our understanding of a text change if we focus on the male characters, instead of the heroine, in one of the most widely-analyzed Turkish novels? By examining Halid Ziya Uşaklıgil’s (1866-1945) Aşk-ı Memnu (The Illicit Love, 1900), the founding text of modern Turkish fiction, I address how conceptualizations of masculinity shaped early Turkish novels. I depart from the mainstream view that considers Aşk-ı Memnu a work that primarily relates to the issue of women’s emancipation. This new reading of Aşk-ı Memnu offers an opportunity to revisit the novel’s central status in the Turkish literary canon.
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The turn of the current century has witnessed the re-negotiation of materiality and the growing ascendancy of the virtual, the immaterial over the real or tangible. Though it would be presumptuous to claim that the virtual has totally assumed control over the real, it can be asserted that the figure of the wall as a transfusion between the real/virtual and the self/other has emerged between the two. Based on constructions of textuality articulated by theorists such as Roland Barthes and Friedrich Nietzsche, and a pastiche format that mimics the functionality of the wall of scription, this article brings together multiple enactments of mural scriptions that include the concrete, textual, textile, vegetative and the virtual in order to articulate the Dionysian property of wall-effects. It traces successive actualisations of the wall, analysing how the virtual Facebook wall assimilates and re-dynamizes the traits of the tangible walls through an array of intertextual/inter-medial modalities.
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While Arundhati Roy’s first novel, The God of Small Things (1997) mostly focused on the tragic outcomes of the rigid Indian caste system and found its place in the tradition of Marquezian magic realism and Salman Rushdie’s mythical and exotic portrayal of India, her second novel offers a complex description of a divided society. The Ministry of Utmost Happiness (2017) bears the mark of Roy’s vast experience in the field of political and environmental activism, her militant approach towards social injustice. The new novel is a patchwork of narratives focused around two main characters, the transsexual Anjum and Tilo, the ever revolting architect involved in the civil war in Kashmir. In the description of both hallucinatory violence and small, gentle moments of harmony and cooperation, Roy portrays the divided, postcolonial/neocolonial India where conflicts are constantly emerging on religious, political, social and sexual levels. Borders seem impossible to cross when the conflict is thoroughly interiorised like in the case of the Delhi hijras, or has grown uncontrollable like in the civil war for Kashmir’s independence, yet they prove transgressable in the characters’ everyday practice.
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This paper aims to bring to the reader’s attention three perspectives on the American dream, as seen through the eyes of the main characters in three novels: In America by Susan Sontag, Amerika. The Missing Person by Franz Kafka and the more recent Immigrant, Montana by Amitava Kumar. The perspectives are different – from Maryna’s story of failure and success as an actress in America in 1876, to Karl Rossmann’s escape from Europe and incomplete adventure in America, to AK’s sexual experiences that mark the steps of his adaptation to the new country –, but they share similar acculturation and transnational strategies. Common themes such as the ethnic identity, the idea of a “portable homeland” will be investigated, in an attempt to outline the fluid contours of the elusive American dream.
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Scientific work of Professor Halina Janaszek-Ivaničková (1931–2016) can be placed in three postwar periods of Poland’s history, albeit her scientific and organizational work with regard to comparative studies was carried out on a few continents. Her scientific programme, methodological inspirations and message in each of those periods were aimed against regime limitations, but simultaneously pointed to a positive programme suggesting what can be done and what is right. Initially her programme could be placed with positivistic message and Bakhtin methodology (studies on Stefan Żeromski and Karol Čapek), only for the first lady of Polish comparative studies to become after a breakthrough Revolutions of 1989 a promotor of postmodernism in Poland and other Slavic countries (“From modernism to postmodernism”, 1996). Later she pointed to a “change of paradigm” and foresaw the decline of postmodern formation (“New face of postmodernism”, 2002). With a sharp mind she anticipated a radical “turn to the right” which we are now witnessing. In her last years she was working on a monography on Warsaw Uprising (1 August – 3 October 1944) during which her father, colonel Jan Wacław Janaszek, a soldier of antifascism Home Army, died.
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Ever since its advent in the late nineteenth century, cinema has been closely inter- twined with literary works. The filmmakers soon realized that literature could pro- vide them with just the right material to attract a large number of viewers. Despite the early hostile attacks on adaptations by those who regarded them as inferior to their sources, adapted movies have managed to reach an unprecedented number of audiences. The value of these adaptations, however, lies in the extent of similarity they shared with their sources. This trend, known as “fidelity criticism,” dismissed as irrelevant the adaptations that sought to situate the text in a new context. In recent years, however, this approach has been given reconsideration as every adaptation is viewed as an independent discourse that constantly influences and is influenced by other discourses, including the source text. In other words, this network of relation is, in Bakhtinian terms, “dialogic.” The paper thus suggests that engagement with the Bakhtinian matrix of ideas, including heteroglossia and chronotope, will enhance our understanding of the rationale behind two different adaptations of William Shakespeare’s Hamlet (1609). Within the Bakhtinian framework, the paper notes, Kenneth Branagh’s Hamlet (1996) and Michael Almereyda’s Hamlet (2000) treat their source text differently as they highlight intertextuality and contextuality in their relations with Shakespeare’s text, respectively. Despite their differences, in- tertextuality and contextuality stress that the Bakhtinian approach can provide new points of access into some of the major issues of adaptation studies.
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The purpose of this article entitled “The snow and the war in The Snow was dirty by Georges Simenon and Warna or the weight of the snow by Paul Willems” is to show how the snow is playing a structuring role in the two studied works: first, due to its ambivalent properties, it makes the plot switch, secondly, it lets overcome the reality of the war in order to explore general questions as fate, purity and redemption.
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The paper examines some linguistic aspects of Jerzy Andrzejewski's novel Wielki Tydzień, and compares them with the French version of the text. It focuses on the figure of hypallage, used recurrently by Andrzejewski. Usually defined as a transferred epithet, hypallage can also be conceived of as a partly fixed expression whose elements have regained – in a specific context – their combinatorial freedom. The paper describes the different functions of this type of transfer in the Polish original. It also examines the attitude adopted by the French translator regarding these unusual co-occurrences.
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Hino Ashihei served the longest time for Japan, in the Pacific War, and was widely known as a war writer. Also, he greatly loved one kind of Japanese goblin (yōkai) called kappa, and wrote many novels, children’s stories, and essays about them. He published a collection of forty-three kappa stories called “Kappa Mandala”, and other collections like “Kappa Ascension, “Kappa Conference” , and “Twelve Kappa Stories”. However, this group of works by Hino about kappa has not been studied yet. In this paper, from the many works about kappa which Hino wrote, I will discuss “Stone and Nail”「石と釘」, a story based on a folktale from the author’s birthplace. Although an absurd children’s story, “Stone and Nail” carries within it Hino’s longing for peace. Here, I will also discuss the comic titled “Urine”「小便」, based on two of Hino’s stories, “Stone and Nail” and “Ghost”「亡霊」, and drawn by Mizuki Shigeru, a Japanese cartoonist who loved yōkai.
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Cette analyse s’appuiera largement sur l’étude menée par Philippe Lejeune sur les problèmes liés à l’autobiographie. Le principal obstacle de l’adéquation entre cette définition et le roman qui se déclare/veut une autobiographie réside bien entendu dans le terme de « personne réelle ». Un autre problème qui surgit lors de l’analyse d’une narration autodiégétique et s’il s’agit bien d’une autobiographie ou d’un récit fictif ?
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In the recent decades, a lot of ink has flown about Mite Kremnitz, only to emphasize her literary activity and her importance as a cultural mediator, a relevant feature of her life, while her relations with Carmen Sylva, however, are mostly on the sidelines. This paper aims at proposing an indepth approach of this relations in the below lines.
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This study is a somewhat monographic synthesis of Jean-Paul Sartre's work. The method used is that of the comparative literature, and the resulting synthesis is based on "a chain reaction." At the same time, the article aims to reposition criticism and poetics in the trans-horizon of philosophy (ontology and phenomenology - n.m.). The effort of my exegesis aims to solve some aspects of Sartrian thinking by bringing it to the field of native transmodernism (promoted by me after 2002 in Romania as an alternative to the postmodernism of master, Nicolae Manolescu and the current theorist in vogue in 1980-1990, Mircea Cărtărescu) and the re-enhancement of some themes and places that characterize and identify him in the European and trans-European context of the same Jean-Paul Sartre.
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The title of this paper is primarily meant to show the relationship between works by Edgar Lee Masters and Thornton Wilder, though the juxtaposition of the two family names may invite other interpretations that the author does not fully neglect. Spoon River Anthology (1915, before World War I) and Our Town (1938, before World War II) seem to be providing oblique commentaries—“a cemetery on the hill”—or “the city upon a hill” metaphor/myth/legend/allegory… of America proposed by John Winthrop in his 1630 famous sermon on board the Arbella. The substance of the paper is based upon the two worlds in the epigraph, the world of the living and the world of the dead, joined together by memory. history, mythology, and poetry in the messages sent by the dead in the two works, meant to provide imaginative bridges that the living (including the two authors) have always tried to build and (almost) never succeeded; the similarities between the two universes (Midwest and New England) are less important than the complex visions of Masters’ and Wilder’s remembered voices.
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This paper aims to demonstrate the influence of the theatrical experience of the authors Eliza Haywood and Jane Austen in their novels: “Fantomina, or Love in a Maze (1725) and “Mansfield Park” (1814). Fanny Price’s story, enthralling with Jane Austen's fine and ironic humor, and the sensational narrative of Eliza Haywood around an unnamed female character, conventionally called Fantomina, will be compared from the structural and compositional point of view in order to highlight their clear relationship with the dramatic genre, explained by the interest of these English authors in the contemporary theater of their era, which in part they parodied, in part brought narrative innovations to their work under the influence of the specific dramatic art of dialogue, monologue and free indirect speech.
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The culture of the macabre is always at the centre of life in the Middle Ages due to contagious disease, famine, war, the lack of hospices and medicine, and infant mortality. Living in such a culture in medieval England requires a familiarization with the fear of sudden death. To prepare for death, medieval people avoid sin, perform good works, take part in the sacraments, and keep to the teachings of the scholastic theologians. In this context, this paper will explore how the culture of the macabre and afterlife are understood in the Middle English Pearl Poem, Bevis of Hampton, and The Disputacione betwyx the Body and the Wormes.
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“Stephen Greenblatt discusses the originality of the texts in literature in “Culture” (1982), and he concludes that literature which reflects the culture at the same time is an accumulation and improvisation of the works, which enables literary mobility and exchange. This paper will analyze Robert Browning’s “Porphyria’s Lover” as an improvisation of William Blake’s “The Sick Rose” from Greenblatt’s perspective. Robert Browning is known as an influential poet in the Victorian Age while William Blake is one of the cornerstones of the Romantic Period. Proving what Greenblatt claims, by applying similar theme, subject, symbols and characters, it is clear that Browning successfully improvises Blake’s poem. The purpose of this work is to compare and study these two poems written in different ages by different poets, and to find the similarities and improvised elements to support Greenblatt’s theory.”
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“The Romantic and The Victorian Ages are the consecutive ages, and there is not a long time between them. That is why, the conditions in the society and the effects of the developments on both the social and literary environment are similar, and therefore some common themes can also be found in the literary works written in these ages. As Stephen Greenblatt also states, the literary texts are a part of culture and they reflect the cultures and the periods they are produced in, which means that this reflection is somehow inevitable. Likewise, The Chimney Sweeper (1789, 1794) poems by William Blake and The Cry of The Children by Elizabeth Barrett Browning reflect common concerns about the Romantic and the Victorian Ages. This paper aims to compare the stated poems of these poets in terms of child labor, social and family relationships, and religion; also according to the reflection in these poems, it tries to analyze whether the conditions about these issues in the Romantic Age made any progress in the Victorian Age.”
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