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Ne bismo s ovdje upuštali u obuhvatniju kritiku novog romantizma u Francuskoj, kad bi se njegova »slava« ograničavala samo na ono što je u stvari njegova prva pokretačka snaga: stanje duha karakteristično za vidove stvaranja, ponašanja i senzibiliteta mladih danas, a protiv sila prevlasti, prinude i otuđenja našeg doba.
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Teško bi bilo predstaviti pod ovim imenom povezano telo doktrine, upravo zato što su političke zaokupljenosti, za Đodlera, prisno povezane u isti mah s razmišljanjima o društvu i o sudbini pojedinca, i sa zamislima književnog stvaranja, katkau, takode, s reakcijama raspoloženja pred savremenošću. Ipak ćemo moći da pod naslovom »politički« pregrupišemo tekstove, često u odlomcima, koji se tiču odnosa prema moći, odnosa prema bližnjima, odnosa prema političkim teorijama, mesta pojedinca u društvu. Pozivanje na političke mislioce, koje je ovde učinjeno, overava ovu klasifikaciju: Makijaveli Ruso , Kondorse...
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Nedovršeni roman Gistava Flobera Buvar i Pekiše jedno je od najzanimljivijih dela svetske književnosti koje i u dvadeset i prvom veku deluje avangardno. Urnebesna satira u kojoj dva činovnika, Buvar i Pekiše, odlučuju da napuste Pariz i posvete se poljoprivredi, hemiji, medicini, biologiji, geologiji, arheologiji, istoriji, književnosti, gimnastici, filozofiji, teologiji i pedagoškom radu, čitaocu jasno pokazuje Floberov prezir prema francuskom buržoaskom društvu devetnaestog veka.
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The article discusses some possible genological classifications of the so-called “liberary work.” By means of a literary analysis of some of the manifestos written by Zenon Fajfer, the founder of the notion of “liberature”, the author considers whether this phenomenon can actually be recognised as the fourth literary genre, along with prose, drama and poetry, just as Fajfer demanded in his manifestos. To this end, the author confronts Fajfer’s arguments with two different concepts of the literary genre, characteristic for the French and Polish theory of literature.
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The purpose of this article is to analyse the notion of “the Physical World” in the André Breton essays and manifestoes of Surrealism, and its presence in the Gherasim Luca’s theory of “the Objectively Offered Object”. In the first part of the article, the author investigates the interactions between the “Surrealist object” and the “poetic image”, linked by the metaphors parallel with the language of Physics. The Surrealist image occures when combining two heterogeneous objects. It is compared to the moment of the short circuit when two “poles” of a machine are joined “with a conductor of little or no resistance”. This notion is explored in the second part of the article as a rigorous key to read The Passive Vampire of the Romanian-French Surrealist Gherasim Luca. His theory of “the Objectively Offered Object” masterminds the game of constructing the hybrid items, put together as the effect of the “objective chance”. The narrator/subject of The Passive Vampire describes his “obsessional” and “delirious” contact with certain objects “projected by desire”. With this concept Luca proves the predominant role of the “Surrealist object” in the works of the Romanian Surrealists.
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The article analyzes the fundamental categories of Henri Michaux’s writing: way (voie) refers to the complexity of space aspects in the textual worlds, voice (voix) problematizes the issue of these worlds’ construction and the notion of literality of the subject, and rhythm (rythme) deals with the problem of the poetics of experience as the crucial point of Michaux’s oeuvre.
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The article discusses the reception of Franz Kafka’s novels and the so-called “dark literature”, popular after 1956, by the censorship board. It presents the discussions around Kafka’s work and various interpretational strategies used to secure this literature a place in the culture of People’s Republic of Poland. The article presents analyses of the censors’ reviews of Kafka’s (but also Sartre’s or Faulkner’s) novels and offers insight into the censorship process and the literary life of the late 1950s in general.
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Djelo Juliena Gracqa, na više ili manje svjestan i eksplicitan način, reaktivira neke od velikih mitova romaneskne fkcije. Upozorenje čitatelju romana U dvorcu Argol najavljivalo je upotrebu “uvijek uzbudljivog repertoara nakrivljenih dvoraca, zvukova, svjetala, sablasti u noći i snova” kao “ratnih strojeva (...) čija je svrha pokretanje poluga strave, kojima je uvijek teško upravljati.” Taj književni ponovni upis (réinscription) istodobno je – Breton je to prepoznao – odavanje počasti nekim tekstovima na koje se nadrealizam uvijek pozivao.
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Jednoga dana možda ćemo znati da nije postojala umjetnost, nego samo medicina. J.-M. G. Le Clézio, Haï. Produženi Le Clézioovi boravci u panamskom Dariénu između 1970. i 1974. godine, tijekom kojih je živio s Indijancima iz plemena Embera i Waunana, bili su za njega pravo otkriće. 1) Otkriće jednog načina života i jednog shvaćanja umjetnosti. Pošto je prisustvovao obredu magijskog liječenja kod Embera, Le Clézio izjavljuje: “Jednoga dana možda ćemo znati da nije postojala umjetnost nego samo medicina” (Haï, 7).
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Na prepredeno pitanje Jacques-Pierrea Amettea, “Ima li neka od vaših knjiga koju biste željeli ispraviti, ili biste čak htjeli da nestane?”, Le Clézio je nedavno odgovorio na ništa manje prepreden način: “Genij dature” (koja, uostalom, nije nikad objavljena).” 1)To znači reći previše ili premalo. Naravno, djelo nije objavljeno u obliku knjige.
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U eseju “Povijest i zemljopis”, u Ogledalu ideja, Michel Tournier kaže da postoje povijesni romani i zemljopisni romani. Povijesni roman, omiljeni rod Waltera Scotta i Alexandrea Dumasa, često je pesimističan, “jer preuzima svoje mračne boje od zloće i okrutnosti vlastodržaca”, dok je zemljopisna inspiracija “u osnovi optimistička, nastala iz ljubavi prema rodnom kraju, u svojoj sjedilačkoj verziji [kao Jean Giono i Provansa] i istraživačke strasti, u svojoj putničkoj verziji [koju ilustrira egzotika Pierrea Lotija]” (MI, 87). 2) Esej završava citatom “slavnog” Angelusa Choiselusa 3): “Bog crta obrise geografje, a Đavo krvavim slovima piše povijest.” (89)
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The way an author individualizes his writing is expressed through voice, a feature of writing that is often overlooked, generally not analyzed. The phenomenon of voice is not easy to grasp and when we think of Patrick Modiano, an adjective comes to mind, one which makes it even less detectable: imperceptible. Is it possible to analyze a voice that fades, that allows the contents to be “carried on writing”? However, examining Modiano's work, we realize that his voice is not homogeneous. On the contrary, the loud shouting voice of the young writer of the seventies is no longer the one of the mature novelist of the nineties. It has undergone esthetic metamorphoses. It leaves deep traces in the contemporary novel, but no critic would think to connect that voice to a shout. This paper examines Modiano's voice during the period between 1968 and 1997, attempting to reveal its evolution from La Place de l‘Etoile, via Missing Person up to Dora Bruder, studying the tension between outcry and whisper that destabilizes the writing. Two main questions demand analysis: What is Modiano's voice at the beginning of his career? Which transformations or tendencies has it undergone along these years?
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The purposes of the article are to review the features of the relation between poetical symbolism of P. Eluard (in the vers libre genre) and musical genre melody in the chamber and vocal cycles of F. Pulenc (1937-1956) and to define the influence of the artistic work on the evolution of the musical portraits genre. Methodology. The deep psychological processes in the process of the creation of a harmonious unity of the poetic and musical text are studied by using the evolutionary and structural methods. The author uses historical, logical, analytical and comparative methods to analyse the poetical and musical texts. Scientific Novelty. The scientific novelty is the researching of the psychologism of musical portraits in the chamber and vocal genre that has not been well researched in scientific literature. The analysis of the text features gives the opportunity to the confirmation of links among the symbolism of P. Eluard’s poems, the music of F. Poulenc, and avant-garde fine art in intertextual space. Conclusions. Analyzing P. Eluard’s myths and images, based on the archetypal motives in F. Poulenc melodies, we can see the overall archetypal idea of immortality. Poulenc creates the musical form to describe how Eluard thought about myths. His personal perception of Eluard’s poetry is accessible and easy to understand. The psychologism of the artist’s image corresponds to the concepts and metaphors, a component and practical basis of archetypal psychology of J. Hillman. The synthesis of the arts creates the multidimensional perception, gives another dimension to the existence of the musical portrait genre, has signs of psychology, and considerably strengthens the emotional impact. The artistic works of F. Poulenc are a harmonious fusion of French musical tradition and innovation. In the evolutionary development of the musical portraits genre, F. Poulenc goes from the imitation of instrumental program-based music to the creation of his own unique interpretation of the genre, featuring a new philosophy that is associated with the deepening of human psychology and the evolution of humankind.
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Patrick Modiano, the recent Nobel winner, depicts in his writings - more than any other French contemporary novelist – the space of France seen as a “terre d’accueil” for many persons, especially Jews who had to leave their homelands during the Second World War. The very heart of France, Paris is not only the “ville-lumière” much praised by artists of all times and cultures, but also a space where memory is present at any street corner, especially the sad and painful remembrance of anti-Semitism. This is why our paper will deal with some of the most outstanding aspects concerning France during the 20th century, which are related in Modiano’s writings (Ronde de nuit, Livret de famille, Une jeunesse) with memory, especially the Holocaust and the Vichy collaboration experience.
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In this article the main attention is paid to the early novels of French writer, art historian A. Malraux (1901-1976). The article deals with 2 novels: “Temptation of West” (1926) and “The Royal Way” (1930). The first of them explored the parallels between Eastern and Western culture. The work was set on the early stages of the Chinese revolution and focused on the exchange of letters between a young European and a young Asian intellectual. The second novel set in the Indochinese jungle. The book was largely a dialogue on death; it was one Malraux’s main themes. This oriental experience of writer and absorbed oriental culture formed the original conception of museum without walls, which is like a museum in the mind, comprising the art of past centuries and civilizations.
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In the article the author examines the literary genealogy of Mikhail Bulgakov’s works of Jean Baptiste de Molière, identifies its origins. In the disclosure of the creative personality of the Moliere play the epigraphs from the works of molière and French literature. The article analyzed the concept of creative personality in the context of reading draws a parallel of fate of Molière and Bulgakov as the plot and compositional principles.
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Un trait particulier de la littérature albanaise de la Renaissance nationale a été l’enchevêtrement allant jusqu’à la fusion de deux mouvements qui, dans la littérature européenne, se sont traditionnellement suivis et reniés. Si les Lumières étaient caractérisées du culte de la raison, le romantisme était caractérisé, au contraire, du culte du sentiment. Les Lumières étaient essentiellement anticléricales et reniaient les religions traditionnelles, elles étaient distinguées par la confiance au progrès humain, alors que le romantisme vivait le désespoir historique et existentiel qui a été appelé « le mal du siècle » et alternait les cultes du passé et du présent.
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The main object of the author’s reflection is the Jewish situation after the Holocaust expressed in the genre of literary essay. The thoughts of Maurice Blanchot and Bogdan Dawid Wojdowski – both prominent essayists – are taken into consideration as an example. Whereas the French writer’s reflections on the Jewish situation are part of his observations about the category of infinity, the Polish essayist’s realizations are intermingled with his own tragic fate as a Jew. Blanchot and Wojdowski wrote after the Holocaust, which is an unique turning point in history for the Jews and their diaspora as well as for the Mediterranean culture.
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The paper analyzes the novel "The Elegance of the hedgehog", the author Muriel Barbery, proved that this novel an example of the revival of the problems of metaphysics in contemporary art. The article notes that the processes that are taking place in contemporary art it processes specific to proto-culture (as opposed to post-culture, processes that form the proto-culture.
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The following article has revealed the influence of the translator’s gender identity on the adequacy of translation. This is especially noticeable in translations of the same text by translators of different sexes. This correlation is exemplified in the contrastive analysis of the translations of Marguerite Yourcenar’s novel “L’Oeuvre au Noir” carried out separately by Marta Kalytovska and Dmytro Chystiak. The results of this research demonstrate that translators succeed in achieving a balance in rendering original women’s style. In general, it is noteworthy that male translators used large lexical and stylistic resources of the Ukrainian language and applied the strategy of domestication in translation. Vadym Pashchenko repeatedly uses Ukrainian words and expressions, which makes his translation of Nathalie Sarraute’s novel “Les Fruits d’Or” more expressive. The elements of domestication are very typical for Anatoliy Perepadia’s translation of Sylvie Germain’s “Le Livre des Nuits”. His translation method is characterized by extensive use of Ukrainian phraseology, as well as neologisms and colloquial style. Female translators have closer gender-related sensitivity to a female author, but sometimes they deform to a certain degree the author’s plot and characters’ gender identification. The analysis shows that among Ukrainian translators there are many representatives who have their own literary style, in particular, Marta Kalytovska, Eugenia Kononenko, Dmytro Chystiak. Therefore, the question arises as to the effect of the translated prose on the writer’s own creativity. The creative style of Eugenia Kononenko is significant in this regard. She is well-known as a writer, translator from French and English, and a great fan of feminist ideas. This article reveals the influence of translated French women’s prose on Eugenia Kononenko’s own literary work.
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