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This text is focused on examining Joseph Brodsky’s reflections on exile, emerging from his own experience, expressed mainly in his essay “The Condition We Call Exile”, as well as in Solomon Volkov’s book of conversations with the author. It examines Brodsky’s specific, less nostalgic, rather ironic notion on his status as writer in exile.
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The survey of Hesiod’s literary reception in the Macedonian cultural environment is a complex literary communication process that can be followed in several receptive phases (passive, indirect, reproductive) on several levels (intertemporal, interlingvistic and intercultural level). The beginnings of Hesiod’s reception in the Macedonian cultural environment are evident in the XIX century according to contacts of Macedonian teachers Grigor Prličev and Jordan Hadži Konstantinov-Džinot with the epic works of Hesiod in one of the classical languages. This phase is considered passive. Later, in the first half of XX century, the presence of the works of Hesiod as translations in some of the neighboring languages allows us to speak about indirect channels of literary reception. The announcement of the first reviews of Hesiod’s works in Macedonian periodicals from the second half of the XX century and the emergence of the first Macedonian translations of ‘Works and Days’ (1996) and ‘Theogony’ (2001) at the end of the past century, marks the reproductive phase of Hesiod’s literary reception in the Macedonian cultural environment. Analysis of the beginning, the scope, the content and the character of Hesiod’s literary reception evoked a number of issues, such as the meetings of the classical work with readers in other eras (intertemporal level), the trust of literary translation (interlingvistic level), and more specific, the literary, aesthetic and ideological meetings of Macedonian culture with the ancient Hellenic culture (intercultural level).
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The paper examines the intertextual connections between Stanislav Vinaver and Miroslav Krleža. Comparison of the diffirent versions of their travelogues reveals that Krleža’s “An Excursion to Russia” (1926) contains many traces of Vinaver’s “Russian Processions” (1924). These specific traces are explained by the history of the mutual relations between the two writers, with particular reference to the polemics they led during 1920s and 1930s. Textual analysis reveals two different types of travelogue and two different poetics: one of modernism (Vinaver’s), and the other of avant-garde (Krleža’s).
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Starting from Debord’s definition of spectacle, Bakhtin’s views on carnival and carnivalisation in literature, and relevant later interpretations of these ideas, the paper examines and analyses the Prologue of Don DeLillo’s Underworld– an elaborate, though fragmented account of a famous baseball game in 1951, represented as a symbolic milestone in the recent American history and culture. Drawing on Bakhtin’s theory, a chronotope of carnival is conceived and applied as a framework for a reflection on possible meanings and wider implications of various details, stylistic and narrative devices used in the novel’s Prologue (and in the story “Pafko at the Wall”, the earlier version of the Prologue). In the light of Bakhtin’s idea about transposition of the “language” of carnival on the language of literature, equivalents of carnivalesque elements and categories are shown and analysed. However, while the Prologue might be read as an example of the carnivalisation of a spectacle, the importance of the theme of an always open and undecidable competition between spectacle and carnival will be explored and stressed, too.
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The aim of our research was to review of Momčilo Nastasijević’s fiction (written and published largely during the 1920s), while primarily focusing on its development and its positioning in the context of the current moment and the history of Serbian literature. Therefore, we started dealing with our problem by considering the questions related to Nastasijević’s explicit poetics, essays, notes and thoughts, concluding, in the end, that his work defies strict contextualization. In a brief overview of the immediate reception (and inevitably with a retrospection of the further reception of Nastasijević’s work) we also traced the course of our writer’s inclusion among the greats of Serbian literature, culturologically a very interesting process.
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After a review of rather rare recent conributions that take into account formal classifications of loaning/borrowing, I stand by the classification from my PhD. In absence of a work that could compare to the lexicographical endeavor of Vuk Karadžić, I rely on my own critical reading of many texts since the late 80' which were thematically connected to the Serbian nationalist discourses – narratives, essays and media texts. An interesting phaenomen can be noted: two main motivations for loaning and borrowing, in order to produce new specific meanings meet in these new discourses: translation from the religious thesauri of the Orthodox Greek texts, and crytpo-ludic and secret languages defining a social group. The criosity consists in repeated technique of using pseudo-calques and pseudotranslation, that is, in hyper-production of such words, not only in use that should be considered as a discoursive testimony of a certain nationalist ideological orientation, but also – as a parody of such discourse. Some of the best examples of the parodic use can be found on Internet, on portals like Njuz, Zokster and others.
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Интенцијата на овој текст е да го покаже значењето и влијанието што самата идеја за слободата во себе го носи. Слободата во овој труд ќе се доживее како највисок степен на хипотетичност, со недостоен обид да се запише во вид на текст. Латентно ќе се допре до полемичноста помеѓу желбата и разумот, како два субјекта осудени на вечен мегдан. Исто така ќе се занимаваме со аспектот на Карамазовскиот мизер (јад) и вечната Иванова загатка во форма на поема којашто го опфаќа контекстот на системските крајни цивилизациски размери.
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Recent reflections on the return of the aesthetics (Michael Bérubé, Vincent Jouve) have triggered debates in French and American cultural contexts on the need to re-evaluate the literary according to a set of contingent criteria. The paper investigates the impact of these theoretical debates on literary studies in the post-2000 period, by questioning the concept of value in the field of postcolonial studies (concerned with the relation between high and low culture), new reception theories (preoccupied with the revival of the „aesthetic emotion”) and the ideology of literature. On the one hand, the article Debates on Literary Value in Contemporary Theory shows that postcolonial studies have never ceased to functionalize value principles. Recent American theorists (Martha Nussbaum, Rita Felski) have maintained the utility of the literary work by redefining the readersʼ interaction with the literary work. The concepts of self-identification or self-problematization become central in the postcolonial axiology. On the other hand, French theorists openly state the conjunction of aesthetics with other disciplines like sociology or cognitive psychology (Jean-Marie Schaeffer, Yves Citton). The paper holds that the extension of the notion of „aesthetic experience” (Marielle Macé) over domains of experience unacknowledged by the tradition of literary studies („democratic experience” or ,,cognitive experience”) is part of the same attempt to redefine literary value on new theoretical grounds.
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Nedávno sme mali možnosť na stránkach odborného časopisu O dieťati, jazyku, literatúre: časopis pre otázky rozvíjania komunikačnej a literárnej kompetencie čítať zaujímavú diskusiu s názvom Zopár poznámok k radosti z textov o textoch. Spomínaný text bol sformulovaný ako argumentačne presný útok na „baštu“ extrémneho idealizmu teórie metaspektáklu a veľmi výstižne reagoval na predchádzajúci diskusný príspevok Ako dobrovoľne „pozastaviť nedôveru“ vo vedeckú metodológiu. Radosť z (meta)spektáklu uverejnený v minulom čísle menovaného časopisu, čím oprávnene rozpútal pomerne ostrú diskusiu. Pozrime sa teraz na obe predostreté teórie súčasne.
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Drawing on recent discussions in world literature and Michael Rothberg’s concept of multidirectional memory, in the present article I explore Danilo Kiš and Dubravka Ugrešić within the formation of transactional exchanges between “small/minor” and world literatures. As I approach these exchanges, my focus is on texts and contexts in which translation and memory function as the key mediator. By reading Kiš and Ugrešić comparatively, my aim, in what I call “the minor drive,” is to address writers and translators that contest hegemonic narratives, and in doing so, examine the cultural enterprise of “small/minor” literatures from the perspective of “worlding” former Yugoslavia and Southeast Europe.
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The paper starts with the study of Marie-Laure Ryan Narrative as Virtual Reality. Her typology of the immersive and interactive reader is revised by the anticipation of the hypothetical trompley (trompe l’ oeil) reader. He is explained through comparisons of similarities and differences in relation to the addicted reader who is often subject of referential or affective misconceptions. The second type of differentiation,in the virtual world of electronic media, is established in relation to the concept of the game by Roger Caillois and his equating reading with mimicry games. We follow the genesis of the reader from the conceptualization of Don Quixote syndrome reader, precedes the fake reader (the protagonist of postmodernist prose of Cortázar, Borges, Pavić, Petrović) to the anticipation of trompe l’ oeil-reader.
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The subject of this investigation is dream interpretations and stories about dreams. The purpose is to analyze the differences of textual forms in stating propositions (ascertaining statements) of dream stories, verbal interpretations of dreams and printed dream-books. In the course of the analysis it was revealed that textual forms of verbal and printed dream interpretations, though slightly vary, are alike. An essential structural feature common to all of them is linking a vision and its meaning by a cause and effect connection. However, written dream interpretations tend to become notably longer and more often sound as advice, if compared to verbal interpretations.
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The article studies the motivational processes of the emergence of the old Ukrainian fishing professionalism са́ра, used to denote pike in the language of Zaporozhian Cossacks. The relevance of the research is determined by the importance of analysing names that reflect ethno-cultural stereotypes, the original semantics of which dates back to the Indo-European period.To identify the mechanisms of formation of the semantic model, according to which the word “са́ра” “pike” is formed, the diachronic method of research (according to the principle of relative chronology) was used together with the linguo-cultural analysis, which proved that: ichthyonymic metaphorization (creation of the figurative name of a fish) was most likely preceded by paronymic attraction (phonetic and semantic convergence of a name of a colour with a female name of ancient Jewish origin) with subsequent metaphorization of the stereotyped name of a Jew as an ichthyonym. Undoubtedly, the paronymic attraction was also facilitated by the mutilation of the noun component of the attributive phrase са́ра (шара) fish, since fishing nouns as derivatives of two-lexemic analytical nouns can be traced in temporal and spatial dimensions in various lexical-semantic groups of fishing names: варовый [tax], свôйска [marine], сьвітова́ [tonya], ка́мбалові [fish], лососе́ві [fish], etc.Thus, the archaic fishing professionalism of са́ра “pike” is connected with the old Ukrainian names of achromatic grey colour сѣрый and шарый, fitting into the motivational model «the name of the animal by the colour of its fur, feathers, scales». The colour name itself as a basis for metaphorical transference reaches the common Indo-European lexical fund and in the historical dimension combines the meaning of «dark» and «light», realising in the ancient and old Ukrainian ideology the idea of darkness and light, where the «dark side» is the image of a person of a different religion with his or her social and ethno-confessional differences, in particular, the colour of clothing.The researched material encourages further study of the Old Ukrainian lexicon in the aspect of the formation of ethno-ideological bases.
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Македонскиот современ писател Гоце Смилевски во изданието на својот роман Сестрата на Фројд во превод на англиски јазик вклучува кратка белешка во која истакнува: "Тишината околу Адолфина е толку гласна, што не можев да го напишам овој роман на друг начин освен со нејзиниот глас. Добро познатите факти за животот на Зигмунд Фројд беа како сценографија, како ѕидовите на лавиринтот низ кој лутав со години, обидувајќи се да ги пронајдам ходниците во кои можеше да се слушне гласот на Адолфина, за да можам да запишувам и на тој начин во фикција да спасам еден од многуте животи заборавени од историјата“. Овие зборови покажуваат дека главните книжевни предизвици на овој роман, кој ја доби Наградата за литература на Европската Унија и е преведен на повеќе од дваесет и пет јазици, е да се преосмисли и повторно да се напише биографијата на Адолфина Фројд, една од петте сестри на Сигмунд Фројд, несомнено еден од најзначајните и највлијателните мислители на европската култура во дваесеттиот век. Авторот ја започнува својата наративна авантура со скудните биографски податоци за оваа жена, меморирани главно во сенката на биографијата на славниот брат, и потоа разиграно ги комбинира фактите со имагинацијата, вклучувајќи многу други ликови од европската историографија и култура. Во обидот да ја исполни празната биографска кутија на Адолфина на уметнички начин, со сите нејзини болки и таги, борби и желби, и да го долови нејзиниот идентитет, авторот раскажува една интересна приказна во која се поставуваат многу провокативни прашања: преиспитување на теориите на Фројд и на самата психоанализа, феминистичкото движење на почетокот на дваесеттиот век, еврејството во европски контекст, мајчинството и/или интелектуална кариера, мајки и синовите наспроти мајки и ќерки, брат-сестра однос, љубовта и сексуалноста на жената, проклетството на немажените жени во деветнаесеттиот век, и др. На тој начин Адолфина (Долфи), идентификувана со повеќе параметри, а не само како сестра на славниот Фројд, станува симбол на многуте жени низ европската историја, кои биле маргинализирани, потиснати и заборавени од страна на машката доминација и игноранција.
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In 1977, Serge Doubrovsky invented the term autofiction to qualify his own practice initiated in Fils. In the "please insert" part it reads: "Fiction, events and strictly real facts; if you like, autofiction of having entrusted the language of an adventure to the adventure of language, outside the wisdom and syntax of the novel, traditional or new ". Being situated both in fiction and in reality, the issue of autofiction is above all literary. In fact, postmodern literary criticism seeks to delimit the boundaries of this new literary object. Thus, to carry out this research we chose three autofiction authors: Philippe Forest, Marie Darrieussecq and Serge Doubrovsky. Everyone has their own theory of autofiction and puts it into practice through the following works: The Eternal Child, Son and The Baby. One wonders why autofiction authors feel the need to go through theory to accompany their stories.
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The work seeks to analyze the novel entitled I am leaving, whose hero Félix Ferrer, owner of an art gallery, travels to the North Pole and returns to Paris with objects of art that disappeared in the sinking of a boat, but these precious items are mysteriously stolen. The narrator narrates the journey to find these objects, the processes until they are stolen and found with a focus on the events around the hero. The protagonist, lacking the skills to conduct an investigation, imagines himself as an anti-detective who ironically obtains the result in a haphazard and haphazard manner. Focusing on the alternating structure and reworking of the novelistic conventions of detective genres, the article sets out to study the divergent composition of the narrative, the infidelity of the narrator, the investigation and investigator of the point of view of theories of possible worlds, narratology and fiction.
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This study considers border as a complex form of intellect, as an elimination of the meanings of disinterest, as a proposition, as the promise of radical otherness, or as an existential space for fears from straying over it. Referring to concepts which interpret modern subjects as border subjects, it also speaks of those narrative relations which set greater value upon the permanence of the feasibility of crossing the border than the crossing itself; according to this, it is important to know that the “rule of the border” is demolishable if by destroying it we are able to break down the narrative of delimitations. Texts which ironize the act of getting over the border are also included in the study. The ironic gesture of crossing the border carries subversive energies, while the fetishizing procedures strengthen the border’s power system mechanism.
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