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The following text deals with the topic social change and social standing in the novels Things Fall Apart from Chinua Achebe and The Remains of the Day from Kazuo Ishiguro. Both authors describe the change in parts of the Nigerian rather English society within a range of three generations. Achebe concentrates on a period between the middle of the 19th up to the beginning of the 20th century. He concentrates on the ethnic group of the Ibo. Considering exogenous factors like colonialism and missionary efforts as well as endogenous factors he describes the fundamental changes within the tribal society. Ishiguro`s novel, beginning at the end of the Victorian Age, observes the changes in the English class system through the eyes of a loyal butler. Two world wars accompanied by radical social change result in big, formerly inconceivable, changes in social hierarchy.
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African American literature that is fundamentally a socially symbolic linguistic construct, seeks different ways to expand and continue the use of Afrocentric vernacular tropes of personal and collective identity formation. The five residual oral forms – oratory (including everyday speech acts), myth/ritual performance, legend, tale, and song – as well as satire, irony, and paradox are used by contemporary African American novelists. This paper points to how the legendary black ancestors and elder members of the community, the gifted and often rebellious orator, musician, artist, the spiritual leader, and the messianic figure are equally enduring symbols and tropes. The aim of this work is to show the way in which the contemporary African American novelists Paule Marshall and Gloria Naylor use these (above mentioned) characters and symbols to reconstruct their long struggle as individuals and as community against anti-black racism. Therefore, the focus of this paper is on continuity of Afrocentric tropes in African American personal/collective and female/male identity formation as represented in selected novels by Paule Marshall and Gloria Naylor.
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The present study aims to analyze a specific form of intersubjectivity, namely “within oneself”, in the domain of the inner speech (IS) in the literary production of the novelist Camilleri.The work aims to assess the fundamental tensions present in the IS. In addition, it highlights a few IS enunciative performances, instantiated in two different ways: (i)194internalization in the form of indirect speech in third person-novels or (ii) expression of thoughts associated with the represented perceptions. This work also examines more exteriorized manifestations of IS according to their emotional intensity, always in heterodiegetic narratives, such as self-addressed letters and imaginary dialogues within oneself. All these expressions of IS are characterized by multilingualism, humor and they are sometimes emphasized by translation. They spectacularise IS and highlight its acoustic and phonological dimension, and, consequently, the importance of listening phenomena.
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Focused on the memory of people, places and things, on the language and its situation 100 years ago, on literature as a repository of the memory of these events, the tragic experience of the Great War left a profound mark in the literary production of all the countries involved, also because many were the poets and writers who participated in first person as soldiers. The trenches were also a melting pot of immense feelings and emotions. Pain, suffering and death mix with each other as excipients, giving voice to the oppressed souls. Among these stands out for literary involvement and poetic skills the Romanian writer Hortensia Papadat Bengescu and the Italian writer Giuseppe Ungaretti
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Cilj rada je analizirati ženske likove u romanima Jane Eyre i Rebecca. Ova dva teksta engleskih spisateljica Charlotte Brontë i Daphne du Maurier uzeti su za korpus zbog sličnosti u odabiru likova, tema i narativnog toka. Komparativnom analizom pokušat će se utvrditi sličnosti i razlike između ličnosti glavnih junakinja, Jane Eyre i neimenovane junakinje romana Rebecca, te njihov odnos sa naizgled antipodnim dvojnicama – antijunakinjama Berthom Mason i Rebeccom de Winter. Rad polazi od hipoteze da je ženska gotička književnost iznjedrila različite modele heroina, ali da također postoji određena konstanta i univerzalnost u načinu na koji se tematizira i problematizira odstupanje od ustaljenih normi ženskosti. Rezultati ovog rada nastojat će u specifičnim primjerima prepoznati model luđakinje na tavanu koji koriste Sandra Gilbert i Susan Gubar kako bi opisale arhetipske žene koje se ne mogu uklopiti u okvire patrijarhalnog sistema, te ukazati na mogućnost njegove prilagodbe.
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Promatran kao najznačajniji predstavnik viktorijanske književnosti, Charles Dickens je iza sebe ostavio obiman književni i publicistički opus koji i danas zaokuplja akademsku i kulturnu javnost. Cilj ovog kratkog osvrta jeste ukazivanje na značaj velikog romansijera u našem vremenu, prilikom obilježavanja sto pedeset godina od njegove smrti. Sintagmom “naš zajednički prijatelj”, koja je ujedno i naslov jednog od Dickensovih romana, ukazuje se kako na socijalni uticaj koji su ostvarila njegova djela, tako i na umjetničke preference koje danas dijele njegovi čitaoci. Koristeći metode analize i sinteze u radu se analiziraju prednosti i nedostaci Dickensovog književnog svjetonazora iz ugla savremene kritike. Rad, na kraju, podsjeća na činjenicu da Dickensov prozni opus (u vidu romana) nije u potpunosti zaokružen prevodom na južnoslovenske jezike, te da bi ovaj poduhvat bio u ravni doprinosa koji je pisac pružio svjetskoj književnosti.
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In all cultures of the world, women seem to hold a special symbolic place as their multifaceted roles and purposes enabled the collective consciousness to associate them to magical powers and practices, to natural phenomena and supernatural dimensions. They are creators, they are muses, both powerful and delicate, both fertile and androgynous, earthly and astral, and therefore are extensively represented in rituals and art in such impressive, captivating and diverse manners that they seem infinite. A thorough analysis, though, reveals a number of universal attitudes and views towards the ways in which various civilizations understand and depict women.
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Our research tackles the novels of two Maghreb authors – Yasmina Khadra (Ce que le jour doit à la nuit, Les anges meureunt de nos blessures) and Tahar Ben Jelloun (Le dernier ami, Au pays). Our aim is to highlight the contemporary political consequences of the French colonialism in these countries. We want to underline the fact that politics holds a central role in these novels. The process of acculturation of Maghreb populations and the social inequalities affect in a very profound way these nations, leading to an identity crisis. World War II and Algeria’s War of Independence represent the framework for the action of the novels and exert a major influence on the destinies of the characters, who fight for a better life. The abuses of power and the means of coercion and repression of the colonized populations determine very disturbing and complex social impacts. The socio-political problems and the exclusionary relations from Morocco and Algeria mirror these mutilated societies, which seek to rediscover themselves and overcome a period fraught with abuse. The past of the two countries is under the sign of foreign oppression and the struggle for liberation, which has led to a present of disappointment and corruption
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The article focuses on Mate Zorić’s scientific production dedicated to Manzoni and to the reception of The Betrothed among Croatian writers and readership. His critical interest is due to Manzoni’s close ties to Marko Kažotić and Niccolò Tommaseo, writers amply studied by Zorić since the 1950s. A third reason of his critical interest, discussed in this article, is Manzoni’s popularity among the Croatian readership through the translations of his works. The merit of Zorić is not only that of having identified the first attempt at translating Manzoni’s masterpiece in the archives of the National and University Library in Zagreb, but also of having applied the results of the studies of Croatian and Comparative Literature to the studied material. Attributing (along with the literary critic Emil Štampar) the translation published in 1875-1876 to the Croatian writer and translator Josip Eugen Tomić, Zorić also illustrates “the echoes of Manzoni” in the formation and flourishing of the Croatian historical novel. Mate Zorić’s work continues to stimulate further research on the subject from the perspectives of Comparative Literature and Translation Studies.
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The epistolary exchanges to be presented in this article focus on several of the multiple cultural relationships established by Tristan Tzara, one of the founders of the Dada movement, with futuristic antimarinettieni interlocutors and Guillaume Apollinaire, highlighting the strength and conviction with which avant-garde artists confessed to each other the proudly affiliation to a certain homeland (the native one) and the trust in the justice of some ideals fulfilled through the "pan-Latin" alliance of the First World War. Turning to Matei Vişniec's play, in Recviem (the title in Romanian, and Le retour à la maison in French), the memorial element gains a central role in the text economy, at the review of the events a century later from the end of the war, the significations are sending, only in the author's first language version, to a still painful memory and full of uncomfortable interrogations, the one of the communist dictatorship which marks the period of a grotesque history that proved able to deny the sense of ethical and collective responsibility. The proposed exposition makes possible a bridge over time, the situations comparison clearly pointing the difference between the two historical contexts, illustrated by the texts that will be commented upon. There are, therefore, different types of discourse: the epistolary correspondence, that appeals sometimes to drear tonalities, that takes the form of “authentic”, “sincere” communication or confession, and engaging integral the conscience, sensibility and the human intellectual honesty of the “emitters”, and, on the opposite site, the ludic sarcasm, aggressive or ironic, of some dominant voices, that demagogically manipulates the historical memory of combatants-victims, the latter participants in events whose dynamics will remain obscure.
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The article revises the existing critical discussion concerning the intertextuality of Cyprian Norwid’s poem “A Dorio ad Phrygium”. The author of the article demonstrates that the piece can be interpreted both from the perspective of the old-Polish intertextuality (his hypothesis concerns Norwid’s inspirational address “from Kochanowski to Rej”) as well as through “self-scrutinizing gestures” of the poet himself, who uses the intertext to refer to his own poetry. By reading the equivocal initial part of the poem, the author traces Norwid’s intertextual affinity with Rabelais, Whitman or Rubens and points to the bawdy and transcendental nature of the work. These tropes explain the earlier radical readings of the poem by Wiesław Rzońca (deconstruction) or Krzysztof Cieślik (anthropology of Ruth Benedict or Clifford Geertz). While keeping these considerations in mind, the author of the article maintains, above all, the inter-textual perspective. The final part of the article juxtaposes the depiction of Serionice from “A Dorio ad Phrygium” with the Dublin of Ulysses and asserts that in both the topography is characteristically multidimensional (early modernist period) and relativistic (late modernist period) in its socio-cultural representation.
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Likom i djelom svjedok vremena, Vlado Gotovac svjedoči vrijednost čovjeka, pojedinca spram intelektualaca limitiranoga intelekta, bez želje da limitiranost nadrastu svojim svjesnim htijenjem. U mozaiku ljudi i ljudskosti općenito, on se ne da tvoriti sredstvom i funkcijom, biti samo nemisleći dio mašinerije glasanja. Stalnim propitivanjima okrenut prema sebi i prema društvu općenito, pjesnički je i intelektualni Nevjerni Toma. Umjetnost je kao i umjetnik sam, teška, komplicirana, prije svega višedimenzionalna i tako joj/mu, treba prilaziti u svim sadašnjim i budućim propitivanjima, kako je to činio i V. Gotovac.
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Samoubojstvom okončani kratki život Branka Miljkovića kao da je pjesnika učinio zauvijek mladim i dao mu svojstva mitske osobnosti. Smrt u dvadeset i sedmoj godini zaokružila je opus koji je inače imao težine i razloga za dugo trajanje, a kao torzo i nužno fragmentarna cjelina još je zadobio i značenje izazova za čitateljsko dopunjavanje, vrijednost nacrta za interpretativno dograđivanje. S obzirom da je Miljković učestalo pjevao upravo o smrti i svoje riječi ispisivao u odnosu prema ništavilu, njegov rani kraj doživljuje se izričito predviđen pjesništvom, a pjesnikovo tijelo kao da je time zadobilo na uvjerljivosti, istinitosti, sudbonosnosti.
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Milorad Stojević (Bribir, 1948), pjesnik, antologičar, sveučilišni nastavnik, prozni pisac, započeo je književnu karijeru radeći kao novinar, lektor, urednik studentskih, stručnih i književnih časopisa; pisao je drame, scenarije za stripove i marketinške tekstove, imao izložbu grafika (Fijumanski notturno, Galerija Listopad, Rijeka, 1991), a pored dvadesetak knjiga poezije, objavio je nekoliko romana, antologiju čakavskog pjesništva 20. stoljeća (1987; 2. prošireno izdanje, 2007) i s Vanjom Švačkom priredio antologiju ruske erotske, pornografske i psovačke poezije (Ruski bordel muza, Split: Feral Tribune, 2000). Nakon izrazito autorske upotrebe čakavskog idiolekta, odnosno eksperimentiranja čakavštinom, koji je s posebnim sluhom za jezik ugrađen u podlogu njegova pjesničkog opusa u cjelini, Stojević je u nizu knjiga izgradio samosvojnu, vrlo slojevitu, a mogli bismo reći i paradoksalnu poetiku.
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Jedno od enigmatskih, prijepornih mjesta u književnokritičkoj literaturi iščitavanja, opisivanja pjesništva Milorada Stojevića terminološke je prirode. Većina je povjesničara i kritičara nastojala imenovati autorovu poetiku ne bi li time došli do što preciznije deskripcije sustava. Zapravo, nije problem u točnosti tih opisa, jer većina ih niti ne griješi, već u samoj potrebi za imenom. A iz mnoštvenosti imena poetikâ zapravo nemamo njezino ime, kako Leibniz imenuje — potpuni termin. Metaforički rečeno, književna se kritika oko nje vrti kao mačka oko vruće kaše. Za imati potpuni termin potrebno je imenovati dovoljan broj različitih stilskih, poetskih, ideoloških itd. karakteristika/ obilježja. Što je iscrpniji opis, time smo bliže svetome gralu književne kritike — terminu.
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Nisam siguran, a i u to dvojim, je li nužno izložiti silhuetu velike gužve u poetološkim promjenama, koja se pojavila devedesetih, što zbog jakog, što zbog slabog konteksta, a što zbog toga što su i silhuete same po sebi slabo vidljive. Naime, ta gužva je bila preglasna, ali i ne baš čujna jer nije imala čime biti odčitavanom, pošto je kontekst stišao recepcijske geste. Distribucija, devastirano knjižarstvo, časopisni nedostup, prazni pa zatim naglašeno prevažni kiosci i reperkusije kioskovskih koncepcija novopečenog tržišnizma u pismu kulture i samom pismu romana, sve to i još puno manje je od toga, a i više, što će čitatelj znati puno bolje od ikoga drugoga, npr. i tzv. upućenog čitatelja iliti kritičara, koji se uglavnom, a da toga možda nije bio niti svjestan, mogao igrati skrivača sa zbiljom čitanja... Pa onda logično slijede i previdi i prenagovori, te je blago zapušten podatak da su 1989. i Autobiografija Damira Miloša i Američka predigra Nede Mirande Blažević već bili poetološki zahtjevnom autobiografskom predigrom mnogočemu od onoga što će uslijediti, no kontekstom diskontinuirano i preproducirano jakom poviješću, pa reducirano za jedan početni i konceptualno složeni, no ionako agramatični, no potom olako previđen — a.
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Kad se spominju antologije hrvatskoga novijeg pjesništva javlja nam se asocijativni niz od Mihalić–Pupačić–Šoljanove »Antologije hrvatske poezije dvadesetog stoljeća — od Kranjčevića do danas« (Znanje, Zagreb 1966.), preko Mrkonjićevog »Suvremenog hrvatskoga pjesništva (tekstovi&razdioba)« (Kolo Matice hrvatske, Zagreb 1971.), i »Međaši — hrvatsko pjesništvo XX. stoljeća (Profil, Zagreb 2004.), do Mićanovićeve antologije suvremenog hrvatskog pjesništva »Utjeha kaosa« (Filozofski fakultet, Zagrebačka slavistička škola, Zagreb 2006.), uz podugačak spisak autorskih, tematskih, periodičnih ili pak žanrovskih antologija. Ali, nezaobilaznim nam se čine i one sveobuhvatne antologije kao Pavletićeva »Zlatna knjiga hrvatskog pjesništva od početaka do danas« (Nakladni zavod Matice hrvatske, Zagreb 1970.).
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Review of: Jovana Nastasijević - Nesanica, Profil, Zagreb, 2007.; Ljubav, Ljevak, Zagreb, 2010.; Divljakuša, V.B.Z., Zagreb, 2018
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Razriješimo problem naznačen naslovom: Milan Rakovac malo ima zajedničkoga s Matoševim pripovijedanjem o »našim ljudima i krajevima«. Kao što Matoš nije mogao imati žanrovsku svijest o svojoj putopisno–refleksivnoj prozi kao o svojevrsnoj preteči modernoga metafikcijskoga žanra (nepotrebno je tvrditi postmodernoga jer nije žanr historiografske metafikcije novum našega doba), tako pripovjedaču u romanima i esejima Milana Rakovca ne može biti pripisana stanovita primirenost koju je emanirao Matošev pripovjedač, inače u feljtonima i kritikama žustar pa i neurotičan glas Matoša kao društvenoga i literarnoga kroničara. Sintagma »naši ljudi i krajevi« služi sljedećoj tezi: kao što je Matošu u prozi krajolik metafora najdivnije zavičajnosti (kao ljepote i plemenite privrženosti domaćemu kraju i njegovim ljudima, u čemu, znamo, kod Matoša nema ni natruha lokalpatriotske uskoće), tako je u Milana Rakovca zavičaj »susretište, dodirište i prepletište« povijesnoga meteža koji je Istra prolazila stoljećima, »studija slučaja« najkrupnijih europskih povijesnih, povijesnopolitičkih i kulturnopovijesnih previranja.
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