Con grande amore. 1997–2017: omaggio ad Alba de Céspedes
Editorial for: Con grande amore. 1997-2017: Homage to Alba de Cespedes
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Editorial for: Con grande amore. 1997-2017: Homage to Alba de Cespedes
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In the period of 1949-1950, which coincides with the stay of Alba de Cespedes in Washington D.C (USA), the novel Dalla parte di lei – following its immediate publication – draws full attention of literary criticism, which is evident from, among other things, over twenty reviews dedicated to it. Dailies and magazines of the time featured reviews by some of the most prominent figures of the then cultural circles – critics and writers – who commended and supported the novel wholeheartedly, with only a few of them resenting the author’s choice of topics. This paper focuses on Ana Garofalo’s interpretation of the novel, an intellectual and a journalist and a loyal friend of Alba de Cespedes’. Her review, entitled Dalla parte di lei. Storia di tutte le donne, published in the Gazzetta del Mezzogiorno daily newspaper on 9 Sep 1949, was the first of a series of texts dedicated to this novelistic achievement of the aforementioned Italian writer.
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In her novels, Alba de Cespedes often experiments with different forms of first-person narration. She dedicates the last decades of her life to a work with autobiographic background, in which she talks about her relation with Cuba, her father’s homeland. The work concerned is the novel that should have been entitled Con grande amore. Although unfinished, it is published posthumously in 2011, within the prestigious Meridiani edition of the Mondadori publishing house. The novel is nothing like other novels by the same author, since it represents a kind of memory synthesis, history of the antecedents, as well as the history of the country related to a myth in the authors consciousness. This paper aims at drawing a parallel between invented first-person narration and autobiographic material in the novel. In addition, the paper focuses on the difficulties Alba de Cespedes faces when trying to unify her memories, and to present them to the reader in an acceptable fashion.
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Prior to her signing a contract with the Mondadori publishing house for her novel Con grande amore, Alba de Cespedes decides to visit Cuba in 1976, with a view to touring places associated with the national liberation movement, acquainting herself with changes taking place in the political arena, and collecting information for her new novel. This paper aims at shedding light on her stay in Cuba, thus contributing to understanding some of the key aspects of this unfinished novel.
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This paper aims at illustrating similarities concerning the thematic concepts between Alba de Cespedes’ novel Quaderno proibito and works by Luigi Pirandello and Elsa Morante respectively. It focuses on the bourgeoisie class that is treated in the works of all the three aforementioned authors (in particular in the novel Menzogna e sortilegio by Elsa Morante). In addition, we aim to illustrate in what way the Pirandello-Morante axis fits the aforementioned novel by De Cespedes. Finally, the paper focuses on the topic of motherhood, which is represented to a great extent in the works of these three authors.
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The following paper deals with a view on the concept of fidelity in literary translation with an analysis of the Romanian poet Mircea Ivănescu’s work on the overture of episode eleven: “Sirens” from James Joyce’s “Ulysses”. Mircea Ivănescu is a postmodernist poet who prefers to employ an ordinary language when writing. Moreover, he is a self-taught man of letters who didn’t even get a degree in the languages he translated from. When speaking of his work as a translator his attitude is often sceptical. However, “Ulise” is an acclaimed Romanian translation and critics have repeatedly praised Ivănescu’s translation skills and use of language. For that reason, the paper focuses on the concept of fidelity in translation and on the effort of the Romanian poet to efficiently render Joyce’s writing style in the target language and at the same time to preserve the original meaning of words. The paper is not intended to elicit the imperfections of the translation but rather to illustrate the intricacy of the task, the problems of non-equivalence that are difficult to avoid by any literary translator and some potential approaches.
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Alessandro Baricco keeps reminding us that our fragile and evanescent existence is primarily a spatial one. In parallel with specific inter-relations, his “imaginary-real” characters are creating, through a profound, researchoriented, existential wondering and through a special multilayered relationship with the surrounding space which is sometimes rational, sometimes irrational; frequently focused on the phenomenon of spatial boundaries, which is the very interface with “architecture – envelope,” a topic of paramount importance in particular for the theory of architecture and space. This wondering, resulting from the need to observe and watch, runs through almost all of his novels, starting with the “idea” (in fact, a real-life event) which occurred in mid 19th century, of a “crystal palace” and the use of large glass surfaces which obliterate the “outside – inside” boundary, as a harbinger of a new, contemporary era (Lands of Glass, 1991), through issues related to natural phenomena – “where does the sea end?” (Ocean Sea, 1993), all the way to a unique “poetic-technical” description of a specific space of a house – “the porch”, as an answer to the question “where does a home begin?” (City – a novel “envisaged as a city in which stories are neighborhoods while characters are streets”, 1999).
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This paper attempts to explore the aspects of reviewing personal history and analyzing personal identity presented in Margaret Atwood’s novel The Handmaid’s Tale. Offred’s story, which is presented to the reader as a written narrative reconstructed from tapes two centuries after her death and the end of the dictatorship of Gilead, are discussed at a scientific conference held on June 25, 2195. As a Handmaid in a service of Commander Waterford and a prisoner in his household, Offred‘s identity, her past and even her first name are taken away from her. Her role is limited to a child bearer only. Throughout the novel, Offred rethinks her former life, her tendency to live by ignoring, to take everything for granted and to trust fate. She remembers the days in the pre-Gilead society, where freedom to do something is replaced with freedom from doing in Gilead. She reviews her relationship with her mother and her attitude towards her mother’s values and feminism. She recollects her relationship with her husband, her role as a mother and her way of life in the pre-Gilead society. Offred compares her previous and her present status in a situation in which her personal freedom is almost nonexistent. In her newly-discovered self- awareness, she finds ways to redefine herself as a woman, as a lover and even as a victim.
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The establishment of modern Iran in 1925 accelerated a centralisation policy, which resulted in the oppression of Iran’s national and cultural diversity. Under such unfavourable conditions, Kurdish fiction had a stuttering start with only three works since the publication of the first Kurdish novel in 1961 up until 1991, when the number of Kurdish fictional works produced in Iran began to increase steadily. This article addresses the question of commitment and aesthetics in Kurdish prose fiction by examining a short story collection and three novels published between 1961 and 2002. Whereas the earlier Kurdish writers primarily viewed fiction as a medium for cultural preservation and national liberation, around the turn of the 20th century a generation of Kurdish writers appeared who were as equally concerned with aesthetics as with politics.
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This study addresses the clashes between Azerbaijan and Armenia which are called "Armenian issue" as reflected in the Azerbeijani literature. In addition, the reasons behind the events of Nagorno-Karabakh as a topic of tension in the Armenian issue are discussed, and the effects of chaotic relations on literary works are examined. The resulting conflicts affected the Azerbaijani Turks and Armenians negatively in social, cultural, political and psychological aspects. This struggle environment, which has extensively permeated the literature, has an important place in the history of Azerbaijan literature. In the late 1980s, when Azerbaijan’s Karabakh was occupied by the Armenians, the psychology of war and the idea of national unity became prominent in the Azerbaijani literature. Prominent figures of contemporary Azerbaijani literature such as Anar Rızayev, Bahtiyar Vahabzade, Nabi Hazri, Sabir Rustemanlı, Emin Efendi and Ismail Shihli penned literary works that emphasized the importance of national unity and togetherness. These writers and their followers emphasized the Armenian issue and addressed it as a serious topic in their works.
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Ebû Nasr el-Fârâbi is one of the most important representatives of Islamic philosophy and science. During hundred of years, thousands of study have been done, the works of philosopher have been translated into numbers of languages many times, even special area of study for bibliography of Fârâbi has been established. The same situation is valid for Russia as well. As, some of the works of Fârâbî have been translated into Russian, also his philosophical and scientific heritage have been a special subject of study both in the period of USSR and after the period of USSR. In this article, the researches and studies in Russian language have been ascertained and have been evaluated, and it is mentioned in this study that the commentary styles of Islamic Philosophy from the point of view in Russian Orientalism. In the study, principle publications about Fârâbî, issued during the period of USSR and after USSR, have been analysed. Especially some of these important publications pointed out in this study, as they include a wide literature about Fârâbî.
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In this article, Suyuti’s method in his syntax studies is discussed. Here, the methods establishing syntax will be examined. The methods that are used in the process of establishing the rules and the system of syntax and its course are examined. Then his views on the system and the rules of syntax are reviewed. His views on qiyas (comparison), sem’a (hearing) and icma’a (consensus) and his attitude on muttaridshaz (regular-irregular) narratives, irregularities and bringing evidence to the Arabic language and Arab literature is dealed.
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Poetry is the art of expression of using the meaning of language, sound and rhythm elements in a certain order in a literary way. In Umayyad period, some sects like Shiites, Kharijites and Zubayrites have evolved in uprising against the current government not only because of political and economic but also because of frustration reasons, while this situation sometimes causes bloody riots, it sometimes too kits place in the praise -satirical context of poetry and prose in Arabic literature, as well. In this study, some examples of the famous poet of the Umayyad period al-farazdaq’s poems which are satirical and praise containing against the political authority of the date are given.
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Hadîs ilimlerinde önemli bir yere sahip olan Şihâbuddîn Ebû’l-Fadl Ahmed b. Ali b. Hacer el-Askalânî el-Mısrî, 773/1372 târihinde Mısır’da dünyaya gelmiş, 852/1449 yılında ise Kâhire’de vefat etmiştir. Seksen yıla yakın ömründe başta hadîs olmak üzere birçok alanda eser te’lîf etmiştir.
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Recognition of the symbolic code of Bulgaria in the travelogue prose by Yugoslav poets, Desanka Maksimovic and Vesna Parun, is accomplished with two figures: the Other Sea and Other Man. The Other Man is creative medium through which the Other Sea is observed, while the Other Sea unveils its unknown horizons with drawing historical, spiritual and symbolic representations into the iconographic framework of the Black Sea. The aim of the paper is to present the figure to the hydronim as a palimpsest in the Slavic relations; the path of recognizing Yugoslavia and Bulgaria is represented through historical to symbolic points – the Adriatic Sea as the First Sea exists trough the Other Sea, the Black Sea. By comparative methodology, symbolic layers of the travelogue prose are revealed through the ornaments of Black Sea.
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This comparative study takes into account two books written by women: El violín de Auschwitz (1994) by Maria Àngels Anglada and La Tabla Esmeralda (2012) by Carla Montero. Both novels, despite almost twenty years between them, offer a series of common features. Their extraliterary referent falls into the same thematic field (Nazism, deportation and the Holocaust); both employ the same narrative modality (the presenceof the intradiegetic and homodiegetic narration includes another narration, extradiegetic and heterodiegetic, about the past); last but not least, both titles offer a ‘view from below’, carried out by fictional characters – which allows to suppose that the two novels belong to a subcategory of the intrahistoric novel.
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The aim of the article is to show the difficulties which might be encountered by a translator who resolves to translate the historical realism depicted in the poem Żydom polskim by Władysław Broniewski. The contrastive study of the source text and its translations into Spanish will show to what extent the translators understood the uniqueness of this poetry and the strategy employed by the poet. The aim of such a juxtaposition is to determine whether the translation choices made by the translators reveal their awareness of the specific formal and stylistic structure of the poem. A starting point for the study is the theory of translation as “the experience of the foreign” (l’épreuve de l’étranger) put forward by Antoine Berman, and the examination of twelve tendencies which deform the source text and might be found in every translation.
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The article addresses an issue of the theatrical translation based on the example of the play Notas que saben a olvido (2015) by Araceli Mariel Arreche. Apart from the translation difficulties inherent in the theater, the text will also analyze the translation of the semantic and grammatical elements, as well as the cultural and historical references that are manifested in the play. Therefore, the central aim is to understand how the limits of a genre (drama) impose on the translator the necessity to adapt to the modes of expression and the demands of the theater. Due to the duplicity of any theatrical text, that of having been written for the stage, but also that of having been published for reading, the translation of the theater always looks for the transformation of this materiality, both in the process itself, as well as in the operating procedures that are periodically used by the translator.
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Via speeches, interview, poems the author wants to show the Yeats considered the preservation of Irish language of utmost importance but in a unique, modern way that made him clash with contemporary public opinion of Irishness.
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