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“Refleksija Lica Voljenog” u perzijskoj sufijskoj poeziji

Author(s): Nasrollah Pur Dževadi / Language(s): Bosnian / Issue: 47/2010

Kada sam prije mnogo godina prvi put posjetio aramejsku crkvu u Isfahanu, ostao sam zapanjen pred zidovima ukrašenim slikama. Slikanje religijskih naučavanja, svete povijesti a najbitnije od svega prikazivanje ikona Isaa, alejhisselam, bilo je tako strano svijesti muslimanskog mladića poput mene da nikada nisam zaboravio prvu posjetu jednoj kršćanskoj crkvi. Kada jedan kršćanin naviknut na blještave zidne slike pravoslavne ili rimokatoličke crkve prvi put kroči nogom u neku običnu džamiju i kada vidi njene jednostavne zidove bez slika mislim da ostane začuđen jednako kao i ja. Odsustvo slika likova na zidovima džamija pokazuje ogromnu razliku koja postoji u religijskoj svijesti muslimana i kršćana.

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“Romans à tiroirs” d’hier et d’aujourd’hui : parodie et expérimentation romanesque

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“Romans à tiroirs” d’hier et d’aujourd’hui : parodie et expérimentation romanesque

Author(s): Maria Eduarda Keating / Language(s): French / Issue: 16/2009

According to dictionaries of literature, the Roman à Tiroirs is a kind of novel wherein the main story is constantly delayed and interrupted to make room to new stories and new narrators, in the tradition of The 1001 Nights or the Decameron. This narrative model enjoyed a great success in Europe during the 17th and 18th centuries, with major works like Don Quijote, Tristram Shandy or Jacques le Fataliste and was somehow “forgotten” with the rise of Romanticism and Realism and the success of 19th century’s novels, which introduced a new model in the writing of fiction. This essay considers those 18th century’s romans à tiroirs both as recreations of the traditional art of oral storytelling (the pleasure of hommo narrativus) and as essential texts using parody to discuss the craft of writing narratives. Therefore, they have played a major part in the development of the European novel. It also studies some contemporary authors – like Perec, Calvino or Pamuk - who appear as “postmodern heirs” of the roman à tiroirs, using the multiplication of stories and the discussions on storytelling to experiment new modes of writing and raise questions about the status of storytelling in the novel, the pleasure or rejection of stories, the “boundaries” between fiction and representation, the reflections on literary writing and about the novel as a genre in contemporary society.

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“Sad and small,” said the Sage

Author(s): Andrei Hurdubei,Beatrice Arbore / Language(s): English / Issue: 1/2013

The first one to have used the word “romantic” (with reference to the Eastern Carpathians) in Romanian literature, in 1828, Daniil Scavinski was, as he described himself, “smaller than small.” Mihai Eminescu (1850 – 1889), the ultimate Romanian genius, described him, in “The Epigones,” as “sad and small,” and this is how everyone has seen him in Romania for over a century now.

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“Sahib, you are no longer a guest . . . . You are one of the family”: Wilfred Thesiger and the ‘Problem’ of Participant Observation

Author(s): Wasfi Shoqairat,David Simmons / Language(s): English / Issue: 17/2011

This article examines Wilfred Thesiger’s second text The Marsh Arabs (1964) through the prism of participant observation. More specifically, we explore the, at times, complex self-depiction of Thesiger’s relationship with the Madan tribes’ people. Thesiger’s rapport with the Madan, we argue, offers a decidedly more nuanced engagement than might at first appear. Indeed, while it is possible to read Thesiger’s account of his time in the southern area of Iraq in The Marsh Arabs as adhering to many of the established and entrenched critical ideas concerning the behaviour of Western explorers in the Middle East (imperialist nostalgia, the trope of self-discovery, romanticism), the text also allows for less ‘conventional’ readings. Though Thesiger, like his predecessors, intended both to reify and narrativize the Arabs, thereby documenting their lives for an occidental audience, his first hand engagement with the Madan gives rise to a host of paradoxes that create a more balanced account of this vanishing people’s way of life.

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“Sainte” Angot de nos jours

Author(s): Serenela Ghiteanu / Language(s): French / Issue: 2/2007

L’article se propose d’analyser le cas de l’écrivaine Christine Angot, fausse « vedette » de la littérature française contemporaine et expression, malgré elle, des problèmes identitaires et non seulement de toute une société.

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“SEEKING, FINDING A HOME”: CONFIGURATIONS OF TRANSNATIONAL IDENTITY IN SHANTA ACHARYA’S DREAMS THAT SPELL THE LIGHT (2010)

Author(s): Elena Nistor / Language(s): / Issue: 01/2014

Dominated by an intensely competitive globalisation that encourages the dissipation of borders and backgrounds, lifestyles and aesthetics, the contemporary world is imposing a growing need to define identity in terms of cultural and affective attachment. Numerous women poets in Great Britain debate issues of affiliation in original discourses revealing instances of typical postmodern hybridisation. Shanta Acharya is such an instance of kaleidoscopic personality: born in India, she was educated in her home country, the United Kingdom and the United States; she worked in all three countries as an economist, literary critic and poet, having published books on asset management, as well as poetry articles and collections. Acharya’s latest collection, Dreams That Spell the Night (Arc Publications, 2010), is a perfect illustration that globalisation is a cultural formula that reconciles the fractions of the metamodern self by placing it in a mutually accepting and absorbing environment where all differences are erased. Her poems create a space where the poet can assert her heterogeneous identity, capturing its transpersonal and transnational dimensions in perpetual intellectual versatility and emotional metamorphosis that generates a multitude of meanings to relevant moments and reference points.

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“SELF-OBSESSED AND INCOMPREHENSIBLE.” RE-MEMBERING (POST)COMMUNIST TRAUMAS IN THE AMERICAN IMAGINARY

Author(s): Ana Olos / Language(s): English / Issue: 01/2013

Engaging scholarship pointing to the neocolonial patterns of perception built into East-West relations before and after the fall of the Iron Curtain, as well as compelling questions pertaining to the quasi-colonial status of the countries beyond the Iron Curtain vis-à-vis the Soviet Empire, this paper will focus on the manner in which (post)communist identity in fact forms at the intersection of these sometimes competing, sometimes complementary scenarios of power. Moreover, drawing on Caruth’s and Tal’s work, this paper will suggest ways in which the discourse developed in the field of Trauma Studies holds explanatory and potentially reconciliatory power, as it enables the audience to voice the series of missed or misunderstood encounters that are so often at the buried origin of disturbing memories/memoirs of Eastern Europe (or Romania) in Western (or American) discourse, thus pointing out ways in which interpretative tropes developed in Trauma Studies can be explanatory paradigms that shed light on both (post)communist and Balkan identity discourse. More particularly, invoking a series of early writings on postcommunist identity as well as critical inquiries into Balkanizing or Orientalizing discourse, this paper will explore how one can trace the transformation of individual encounters with (post)communist trauma into collective and then historical memory by borrowing from the field of Trauma Studies the analysis of mechanisms of repetition hovering around the site of trauma.

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“Sentimental Education” with Guillaume de Loris, Jean de Meung, Jean-Jacques Rousseau, Marivaux

Author(s): Ioana Paula Armasar / Language(s): English / Issue: 1/2011

Referring to the novels prior to Flaubert’s L’Education Sentimentale as instances of ‘sentimental education’, two types of narration can be identified: one postulating that the essential is to be found in discontinuities and looking at the ‘sentimental education’ as a romantic invention, the other — on the contrary — discovering the cult of the beloved woman, according to the medieval pattern. These two opposing perspectives — discontinuity vs. permanence — are equally valid. The birth of the novel corresponds to the position of women in society, with an obvious interest in her and a freely-consented masculine subordination. Since the advent of Roman de la Rose (13th century), the novels have illustrated or merely suggest an ‘education of the feelings’ or, rather, an ‘education through feelings’. The deadlock of the idea of sentimental education can be encountered both in Rousseau’s work and in Marivaux’s retrospective, first person novels.

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“Shami” A Public Life Narrator

Author(s): Ayoob Moradi,Hadi Yousefi / Language(s): English / Issue: 08/2013

The public life of people in most cases are among forgotten parts of the Persian literature; in other words, most of the poets because of their too much attention to the kings and their actions and behaviors, followed by their disconnection with the inferior class of the society, have rarely composed poems on the public life of the people. The constitutional revolution to a great extent shifted this balance in favor of the public. In this paper, the anthology of the Kurdish blind poet “Shami” - which deals with the poor class of the society and the issues relating to it from a linguistic and thematic perspective - has been investigated and on the basis of the issues that embody most in the anthology, the poems relating to the public life have been categorized into four groups: 1. Life appliances and equipment, 2.Number of people, 3. Speech and 4. Customs and etiquette. This investigation showed that Shami is a poet that understands the pains and woes of the people and tries through an eloquent language to express pains and sufferings of his own class in a poetic form, offering it to the public. Hence, he can be called a social poet as such.

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“Solange ich verletzlich bleibe, kann ich weiterschreiben”. Die Schweizer Schriftstellerin mit rumänischen Wurzeln Aglaja Veteranyi

Author(s): Ingrid Baltag / Language(s): German / Issue: 2 (10)/2009

This essay about the Swiss German prose of Aglaja Veteranyi, a writer originally from Rumania but with no knowledge of the Rumanian language, is applying the theories of visuality, as defined by Hans Ulrich Gumbrecht, Gernot Böhme and Martin Seel in their recent books about “atmosphere”,”appearance” and the” new esthetics”. The visual experience is not only due to the effect of the text itself, but also depending of the cultural horizon of the reader; it is a permanent exchange between the “effects of presence” and those “of meaning”.

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“Szerte nézett, s nem lelé honját a hazában”

Author(s): Vince Sulyok / Language(s): Hungarian / Issue: 06/2003

In his autobiographical essay the author reminds, the village, where he was born, Ménfő, and the geographical area of his childhood near Pannonhalma (one of the most important monasteries in the Western part of Hungary) and the culturally frequented town, Győr. He talks about the circumstances of his emigration in 1956 to Norway. The spiritual map recalls his memories of his outstanding – but not atypical – life during the Communist Dictatorship in Hungary, and in emigration after 1956.

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“TELLING HER OWN TRUTH”: RECORDING UNTRANSLATABLE HISTORIES IN CRISTINA GARCIA’S FICTION

Author(s): Cristina Chevere?an / Language(s): English / Issue: 18/2012

Cuban-American author Cristina Garcia’s works revolve around multigenerational families torn between the Caribbean island and their adoptive – U.S. - communities. While strong female voices strive to capture the challenges of transgression, communication is often hindered by the discontinuities of memory and discourse. The present paper analyzes the role physical, mental and linguistic boundaries play in the evolution of Garcia’s protagonists.

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“The Baseless Fabric of this Vision” The Poetics of Space in The Tempest

Author(s): Marcell Gellért / Language(s): English / Issue: 1/2012

The paper attempts to survey Shakespeare’s “new world” of the stage in search of creative correspondences between the diverse devices of a dramatic reform “bodied forth” in The Tempest. The spatial analysis of the play confirms the view that Shakespeare’s dramaturgical experiments in his concluding romance aim at rehabilitating the mythical stance of drama through (re)domesticating the fantastic on the stage endowed with creative spatial, temporal and instrumental agencies. The analysis investigates Shakespeare’s innovative strategies in the play in order to see how he deploys the combined forces of the stage’s art in the new genre to legitimize the fantastic for dramatic use, to reopen the mythical dimension for the theatre through dissolving the limited topical and spatial confines of the Renaissance stage. Focusing mostly on the spatial aspects and constituents of the Tempest-world it approaches the play as a pioneering piece of the stage’s spatial redefinition, a topical dramatic eutopia where the abstract, utopian space of humanistic ideas, theological, ethical, phenomenological and social conceptions is turned to shape and gains local habitation through dramatic implacement. The inquiry pays particular attention to the poetic qualities of space as instruments of passage between the spheres of fact and fiction, place and space, the natural and the artistic, i.e., the dialectical twin domains of Prospero’s magical realm.

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“THE CASE OF THE MISSING PLUMS”

Author(s): Dragos AVADANEI / Language(s): English / Issue: 08/2016

From William Carlos Williamsř 1934 ŖThis Is Just to Sayŗ to Florence Williamsř ŖReplyŗŕthis is the Ŗinvestigativeŗ journey here, where travelling between high modernist poetry and the parodies that followed over the decades seems to have marked a certain evolution in American poetry. If parody may have appeared as a result of an exhaustion in the potentialities of the genre, then modernism and post-modernism may have also witnessed the exhaustion of parody itself; the now long announced end or death of literature cannot mean its alternative existence only as parody (though a form of literature itself).

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“THE DEVIL IN THE HOUSE”: THE CHARACTER OF LUCY IN LADY AUDLEY’S SECRET BY MARY ELIZABETH BRADDON

Author(s): Elisabetta Marino / Language(s): English / Issue: 20/2014

The idealised image of Victorian womanhood was forcefully exemplified by Coventry Patmore in his poem entitled “The Angel in the House” (2006), featuring ladies characterised by innocence, submissiveness, self-abnegation, compliance with their traditional roles of nurturers and homemakers. This paper aims at analysing the controversial character of Lucy Graham (Lady Audley) who, despite her seeming perfection, subversively undermines this very model.

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“THE GREAT GOD PAN IS DEAD!” THE ECOLOGICAL ELEGY OF WILLIAM BURROUGHS’ GHOST OF CHANCE

Author(s): Chad Weidner / Language(s): English / Issue: 14/2008

The paper explores some of the profound political strains that work throughout William Burrough’s fiction. Many of the investigations done to date about William Burroughs are sentimental and nostalgic rather than scholarly. Now that Burroughs’ oeuvre is complete, it is time to reflect on the entirety of his work. This analysis will attempt to reveal some of the codified ideology in Ghost of Chance, a novella published many years after the publication of Burrough’s most controversial work.

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“THE HISTORY OF THE WORLD AND …MINE”: PRIVATE AND COLLECTIVE HISTORY IN PENELOPE LIVELY’S MEMOIRS

Author(s): Fabiola Popa / Language(s): English / Issue: 01/2008

The paper focuses on the two memoirs written by the British writer Penelope Lively, Oleander Jacaranda and A House Unlocked, with the purpose of exposing the ambivalent nature of her writings, explicable through the challenging experience of growing up British in an Oriental world. It will examine issues such as: the (re)construction of the self through memories and memoir writing, the self shaped by personal/ collective past, memoir writing as a way of relating the self to the cultural and historical context of provenance.

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“THE NEW SENTIMENTAL EDUCATION” OR THE DARK PEDAGOGY OF THE COMMUNIST SECURITY

Author(s): Emanuela Ilie / Language(s): Romanian / Issue: 08/2016

Taking into account Pierre Bourdieuřs reading of Gustave Flaubertřs ŖSentimental Educationŗ (from ŖThe Rules of Artŗ), our paper offers an analysis of one of the most intriguing Romanian novels centered on the communist regimeřs psychological effects on the intellectuals: ŖThe New Sentimental Educationŗ, written by Constantin Pricop, former Professor of Romanian literature at the ŖAlexandru Ioan Cuzaŗ University of Iaşi. More than his own biography, the literary historianřs areas of expertise Ŕ in particular, Ŗthe seduction of the ideologiesŗ, exerted not only in all sectors of everyday life, but also in the literary and critic fields Ŕ, helped him increase the novelist perspective, in order to propose an original, postmodern Ŗsentimental educationŗ, focused on the dark pedagogy of the Communist ŖSecurityŗ, as well as the survival solutions, yet possible for the intellectuals in the dark years of the communist Romania.

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“The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre

Author(s): Balázs Szigeti / Language(s): English / Issue: 1/2012

In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance.

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“THE ROMANIAN POSTMODERNISM”: DICHOTOMIES UNDER DEBATE

Author(s): Bogdan Ratiu / Language(s): Romanian / Issue: 06/2015

In this study we propose to debate some problems raised by the volume Romanian Postmodernism written by Mircea Cărtărescu: which is the motivation behind the binary approach of the critical text, a reproach brought by the majority of essayists; what are the dominants of the critical consciousness of the author; and, last but not least, how much of the postmodernism theorized in the volume can be applied in his creation, through the rationalimaginary dichotomy. We will bring into discussion the critical reception of the volume, but also some associations and differences with the other theories of postmodernism analysed in specialized literature.

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