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Pošto imam već četrdeset i četiri godine, daću nekoliko saveta o umetnosti pisanja priča.
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Čudno je što su upravo neki buržoaski pisci proslavili Ernandesovo delo Martin Fjero i postavili ga u središte kanona argentinske književnosti.
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Istinska nesreća za pisca je da bude shvaćen; Valeri je to bio za svog života, bio je to i posle. Da li je, dakle, bio tako jednostavam, tako dokučiv? Svakako nije. Ali bio je nesmotren da pruži suviše pojediinositi i o sebi i o svom delu, on se razotkrio, odao, ctn jie predao poneki ključ, uklonio nemalo od onih zabluda ineophodnih za tajni prestiž pisca: umesto da ostavi drugima posao da ga odgonetnu, on ga je sam preuzeo; do poroka je dovodio maniju da se objašnjava. Zadatak komentaltora mora da se usled toga pokazivao posebno olakšan: upućujući ih otprve u suštinu svojih preokupacija ii svojih gestova, on ih je pozivao manje ina mozganje o njegovom delu nego o govorima koje je o njemu održao. Prema tome, ispitivanje povodom njega imalo je za misiju da sazna da li je cln, u nekom trenutku koji ga se tiče, bio žrtva iluzije ili, naprotiv, preterane vlidovitositi, suđa izvučenog iz stvamosti u oba slučaja. Ne samo da je bio svoj sopstveni komentator, nego su još i sva njegova dela samo manje U više pr'emšena autobiografija, znalačko samoposmatranje, dnevnik njegova duha, unapređenje injegovih iskustava, bilo kojeg od njegovih iskustava, u red intelektualnog događaja, atentat protiv svega što je moglo da postoji u njemu od nepromišljenog, pobuna protiv njegovih dubina.
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Svakodnevni način izražavanja identifikuje kritiku sa svojevrsnim i posebnim vidom književne delatnosti, koja se zasniva na formulisanju razrađenih — kao rezultat višestrane analize odabranog književnog dela — opravdanih ocena istog dela. Profesionalna kritika je relativno kasno počela pratiti već prilično dug istorijski razvoj književnosti, naime, tek na pragu novog veka, u kulturi kapitalističkih društava. Pri tom njen razvoj nije bio dugotrajan, jer su se kritičari već polovinom XX veka počeli interesovati ne samo za vrednosti dela i principe svojih ocenjivanja, već pre, a često isključivo, za preciznost svojih analiza i koherentnost svojih teoretskih pretpostavki. Sami su se počeli smatrati ekspertima za književnu analizu, a ne kritičarima.
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Proučavaoce Koderovog dela zbunjivalo je često i to što se u njegovoj poeziji niigde ne mogu naći tragovi neposrednih uticaja, niiti iz naše niti iz stranih pesničkih tradicija. Međutim, najveća zabluda bi bila imlsLiti da je to otuda što Koder nije dovoljno poznavao svet poezije i književnosti. Koliko je bilo Koderovo poznavanje literature i kolika je bila njegova ljubav prema književnostima drugih tradioija, najbolje svedoči Jakov Ignjatović u svojim Memoarima: »Klasičnu književnost osobito je studirao. Valjda nije bilo štampanog klasika grčkog koga nije čitao, ne isamo čitao, već a citate napamet izvesti mogao. Ksenofon, Tukidid, svi redom. Omirovu Ilijadu gotovo je napamet znao, i đacima koji su hteli tumačio je. Od srpskih književnika najvećma je uvažavao Dositeja li Simu Sarajliju. Sarajliju je držao za najvećeg srpskog pesnika, i što se dubine tiče, sravnjivao ga je u mnogome sa Šekspirom, kog je kroz i unakrst pročitao i shvatao«.
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The author analyzes the exercises in Polish creative writing guides, involving imagination, sensitivity and empathy. The article is an attempt to answer the question: what is the role of exercise in the stimulation of the writing process?
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The aim of the article is to present the problem of invention in Polish contemporary narrative journalism. The analysis of creative non-fiction books written by Katarzyna Surmiak-Domańska, Jacek Hugo-Bader and Wojciech Jagielski helps to distinguish the levels of invention (e.g. incorporating elements of fantastic or realistic fiction, creating events in undercover journalism) in this literary-journalistic genre. While comparing the chosen examples, the author tries to show whether/ in what conditions fabricated or exaggerated facts lead to breaking a factographic pact between writer and reader.
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The digitally wise human does not have to be a digital native as even a digital immigrant can achieve digital wisdom. For people aged 85 or more and publishing on the Web (digital sages 80+) creative writing results in social media connection and new media inclusion. However, it is mainly an expression of intergenerational transfer in which seniors’ wisdom matches digital competences of their younger cooperators. Such model of seniors’ creative writing on the Web is illustrated by action research and metaphorically named silver digital content.
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The paper thematizes cognitive narratology as a direction developed within postclassical and new narratologies by observing it in a series of related concepts such as cognitive poetics, cognitive linguistics, cognitivism, and evolutionary literary theory. It delineates its scope and reach within cognitive science, and discusses concepts such as schemata, frames, narrativity, parables, and others, which can influence the development and transformation within cognitive narratology.
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The paper proposes a rethinking of the contemporary narratological apparatus and the integration of Gérard Genette’s concept of the paratext in modern narratological practice. Considering the contextuality of the postclassical narratology and its tendency to explicate narratives through an interdisciplinary framework, the paratexts proposed by Genette could be understood in the same sense. The paper tries to overcome the shortcomings of the structuralist understanding of narrative, and to properly situate the paratext in terms of analysis and interpretation of narrative, within and beyond it.It also aims to analyse some paratexts, suggested by Genette in his study, and provide guidelines for further analysis of similar features in the literary texts.
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Izgnanstvo je“, piše Salman Ruždi u Satanskim stihovima, „san o slavnom povratku. Izgnanstvo je vizija revolucije: Elba, ne Sv. Helena. To je jedan beskonačan paradoks: gledaš ispred sebe gledajući iza sebe. Izgnanstvo je lopta bačena visoko u vazduh. On visi tamo gore, zamrznut u vremenu, preveden u fotografiju; lišen kretanja, nemogućno lebdeći iznad svoje rodne grude, on čeka onaj neizbežni trenutak u kojem fotografija mora početi da se mrda, i da rodna gruda povrati ono što je njeno.“
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Osnovne odlike postkolonijalnog intelektualnog nasleđa – prikazane u prethodna dva poglavlja – ostvarene su i razrađene u Orijentalizmu Edvarda Saida (1991, prvo izdanje 1978)1. U toj knjizi, kao i drugde u svom obimnom opusu, Said odaje nelagodan odnos s marksizmom, karakteristično poststrukturalističko i antihumanističko razumevanje bliske veze između kolonijalne moći i zapadnog znanja i duboko ubeđenje u političke i svetovne obaveze postkolonijalnog mislioca. Ovo poglavlje pružiće nekoliko konteksta za razumevanje kanonizacije te knjige kao postkolonijalnog klasika, uzimajući u obzir njen akademski uticaj i teorijska ograničenja.
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Godine 1993. Bi-Bi-Si je organizovao jedno od svojih tradicionalnih Rajt predavanja. Ispostavilo se da je tema zadrla nešto dublje u aktuelne probleme i odjeknula snažnije nego što je to ranije bio slučaj. Bilo je, naime, reči o savremenoj ulozi intelektualca, a govornik je bio Edvard Said, koji je naredne godine objavio knjigu Predstave o intelektualcu.
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The research conducted aims at providing a typology regarding the status of American Literature within the context of traditional forms, stemming from the oldest indigenous civilizations, all the way to the intercultural transitions found at the onset of the so-called era of migrations, patterns still ongoing. From a present-day perspective, we can ascertain that conditions have been created to begin a process of interpreting the phenomenon of the Americocentric literary perceptions, since American Literature keeps affirming its integral cultural hegemony within global processes. This particular viewpoint is gaining ground since said literary-creative processes run parallel to the prestige associated with political supremacy, which in turn stems from the position of US society within the current world order. It seems as if the defining processes of the cultural-historic (that is to say literary) phenomena are rather complex, due to the complexity of their development within the space that is “the” contemporary state conglomerate, the United States of America (USA). However, viewed from afar, the same processes that marked the civilizational transformations within this space, and are a part of the world’s cultural history, can be observed through the clearly identifiable phrases and forms of the spiritual mergers present among the layered cultural substrates that create the traditional American cultural and historical, on the one hand, and contemporary identity, on the other.
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The text examines one paradox: how the spy fiction (a genre which is subordinated to the official ideology of the socialist state) generates great reader’s interest in a period (the 1960s – the second half of 1980s), when the resistance against the regime gains strength. The text is divided into three parts. At the first part the spy literature is compared to the crime fiction. Here is problematized the leading research paradigm, connected with the study of the detective stories: the understanding that they are related to modernity. In contrast to that paradigm we propose the idea that in the crime fiction are intertwined both modern and premodern elements. These elements are overcome in the espionage novels, which are impossible without the modern state. At the second part of the study the spy friction is presented at the background of the socialist juridical system. It turns out that there is a deep proximity between the socialist laws and the espionage stories: in both there is suspicion of violence against the state if the crime is not a result of an accident, but is a product of a careful planning. At the third part the two most popular in Bulgaria series of spy novels are analyzed in detail: Bogomil Rainov’s works with main personage Emil Boev and Andrei Gulyashki’s prose dedicated to the adventures of Avakum Zahov. Here are described the mechanisms by means of which the spy fiction exercises influence upon the reader. The most important device of the genre is its ability to provoke and manage one of the constant suspicions during the 20th century and today: the suspicion that the world is a captive of a hidden, global conspiracy.
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This paper explores and discusses the synergetic link between language, culture and literature as underscored in John Nkengasong’s Across the Mongolo. Nkengasong, in his novel Across the Mongolo, intertwines Cameroon culture and rhetoric through cultural thought patterns such as the family structure, greeting and salutation, communal life and hospitality, culinary delights, days of the week, as well as linguistic thought patterns such as transliteration of metaphorical expressions and imagery, direct loans, coinage, code-mixing, French discourse, and Cameroon Pidgin English discourse, as index of socio-cultural and linguistic identity. These expressions ornament the write-up of the novel giving it a Cameroonian romantic aesthetic in linguistic texturing. They equally reveal that the language of Across the Mongolo portrays the interconnection between language and culture, and language and socio-cultural identity construction. The paper argues that a good knowledge of the socio-cultural and linguistic context of Cameroon is necessary for a good understanding of the rhetoric of the novel Across the Mongolo.
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Some of the most influential studies written about Joseph Conrad in the 1950s (by Douglas Hewit, Thomas Moser and Albert Guerard) established a critical paradigm that continued to dominate Conrad studies for decades to come – especially with regard to his later novels, which according to these critics represented a decline after the achievements of his major period. The principal reason for this decline, as Moser argues, was Conrad's altered choice of subject matter from the novel Chance onwards – i.e., his newly-discovered interest in romance and female protagonists. Conrad's failure in representing intimate erotic relationship in his later novels, as Moser maintains, is inseparable from his inclination to create melodramatic and inauthentic heroines, incomparably less complex than the striking male protagonists of his earlier works. More recently, critics such as Robert Hampson and Susan Jones have proposed a different approach to the romances of Conrad's later period. A case in point is Hampson's analysis of Lena's character in Victory. Unlike the earlier critics, who accused Conrad of sentimentality in female characterizations, Hampson argues that it is Lena herself who views her own being and her role in Heyst's life through a prism of sentimental romance. Lena's subjective perception of reality amounts to writing a script for herself (Hampson 2004), which casts her in the role of a sacrificial heroine. By using free indirect style, Conrad allows us to see Lena presented through her own idiom, in a manner comparable to Joyce's treatment of Gerty McDowell in Ulysses. The paper draws on Hampson's contention, exploring Conrad's narrative strategies in Victory, while also referring to the theoretical frameworks such as Genette's Narrative Discourse and Bakhtin's Dialogic Imagination.
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