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La significación simulada: alternativas hermenéuticas para superar el relativismo interpretativo en la posmodernidad

Author(s): Adolfo R. POSADA / Language(s): Spanish Issue: 55/2017

Criticism inspired by Derrida’s deconstruction and the main theories by Paul De Man and the Yale School introduced the issue of the limits of literary interpretation in the context of postmodernity. As a result, over the past decades, the attention of literary hermeneutics (Abrams, Eco, Culler, etc) has been focused on the difference between the positive understanding of the literary work and all the overinterpretations, susceptible, unlike forced and abusive readings, to reaching a critical consensus. The present article reviews the main arguments in this discussion and gives some possible explanations and alternatives that go beyond interpretative relativism, regarding a new hermeneutical paradigm in the 21st century.

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BEWUSSTSEINSDARSTELLUNG

Author(s): Wolf Schmid / Language(s): German Issue: 1/2017

Stream of consciousness can be expressed in a narrative in two ways: 1. explicitly; by expressing the thoughts of the character through the voice of a narrator, 2. implicitly, by indicating symbols of different kinds. The first category can be further divided into marked and covert forms. Marked monologues can be represented by graphic means (quotation marks, italic, spacing and similar), introductory verbs (he thought…; she felt…) or indicated explicitly by narrative comments which are related to the origin of the relevant segments of the narrative discourse. The covert forms of monologue representation can be identified when the text narrated by the character is different from the rest and cannot be equalled to it, but it can be expressed formally as narrative discourse as in the so-called substitutionary narration. The patterns of the representation of thoughts have so far been categorized and integrated into six basic types of explicit internal monologues motivated by familiar typologies (Dorrit Cohn, Alan Palmer, Brian McHale), the model of text inferencing (Lubomír Doležel, Wolf Schmid), and Michail Bachtin’s “hybrid construction”, as well as Valentin Vološinov’s “Inference of the narrative.” Apart from stream of consciousness, the specific characteristics related to determining the function of text inferencing are called ambiguity and bitextuality. Implicit internal monologues will be illustrated with the examples taken from “Anna Karenina” (L. Tolstoy) and “Student“(Chekhov). The paper is concluded with a short summary of the history of stream of consciousness in the European novels since the 18th century.

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KÉPELMÉLETI KÉRDÉSEK ZRÍNYI MIKLÓS SYRENA-KÖTETÉBEN

Author(s): Csilla Utasi / Language(s): Hungarian Issue: 1/2017

The title of Miklós Zrínyi’s Adriai tengrnek Syrenaia (The Siren of the Adriatic Sea), appeared in 1651 in Vienna can be interpreted as a homage to Giambattista Marino. Marino' poetry was the main imitation pattern for the author of Siren-volume. The ut pictura poesis theory plays a major role in Marino's literary works. In his treatise Diceria sacre, appeared in 1614 Marino developes even an original picture theory.We cannot proof the knowledge of Marino's picture theorical ideas in Zrínyi's works. Beside several volumes of Giambattista Marino's poetry, only the La Galeria could be found in Zrínyi's library. In the poems of Siren-volume there is no sign of ut pictura poesis theory. By ordering a title page to his volume, looks as if MiklósZrínyi would reverse Marino’s imitative base proceeding: instead of depicting paintings in the medium of the language, he displays his epic on the title page with the help of the picture’s medium. On the print the author, the steel-cladded knight, the wheelsman of a shell-like boat sticks his eyes to a point not depicted on the picture. The print evokes initial reflection of the epic’s fourteenth song that describes the narration of the epic with the metaphors of shipping. Two sirens are swimming beside his ship, one of them is hanging on to the edge of the boat, making an offer to the wheelsman with a shell, symbol of sexual act and sexuality, the other mermaid combs her hair while she is looking at herself in a mirror. According to the author of the paper the allegorical figures on the print do not depict sins and virtues: the knight on the picture signifies the heroic poem, the siren with the shell means the erotic poems of the volume, while the siren with the mirror can be interpreted as an allegory of the entire poetic discours of the volume.

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Перверсивність як культурологічна характеристика смислу абсурдного тексту

Author(s): Dovgan Alexey Valentynovych / Language(s): Ukrainian Issue: 30/2016

The work deals with the representation of the sense of the features at the level of a literary text, to isolate the specifics of the functioning of this process in the context of the absurdity of the literary texts. Methodology. Methodology is the use of historical and logical method, socio-philosophical and comparative analysis of the problem. Scientific novelty. The scientific novelty of this work is to study the sense of absurd literary texts from position of the linguistic and cultural studies: this interdisciplinary campaign allows more in-depth analysis not only its existence but also the development. Conclusions. Perversion is the root characteristic absurd literary texts, because it is the basis of their performance: because both processes behold discredit classical (traditional) sense there is a local disturbance, which manifests itself through the heat of passion, which is formed due to the destruction of the individual elements of a language picture of the world. In this formal logic system is destructive constructions, as in the creation of primary importance purchase the reflections convenience investigating the possibilities of the latter, the mathematical simplicity, elegance and so on.

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Intertextual Parameters of the Dramatic Personality of Sophocles’ Philoctetes at Andre Gide and Yannis Ritsos

Author(s): Panagiotis Asimopoulos / Language(s): English Issue: 2/2017

Undoubtedly the constructive, dialectical relation of the literary works reflects the significant and diachronic people’s need to be orientated towards revived cells of the archetypal core, but also to the actualized motives related to their mythic foundation. This universal ascertainment is verified by the fact that famous and gifted creators adopt the unparalleled spirituality and the profound messages that spontaneously spring from selected verses of classic Greek tragedies. In a perfect connection with intellectually enlightened Sophocle Andre Gide, perspicacious Proteus of the French dramaturgy and Yannis Ritsos, the revolotionary figure of the Modern Greek poetry deal with Philoctetes, the legendary archer: Thus the puritanical nuance of bourgeois arrogance and the unrestrained, youthful impulsiveness are bridged at Gide’s “Philoctetes” (1898). At the same time the anticonventional, hedonistic poet’s gens are harmonized ideally with the standards of the traditional literature. Analogously at the homonymous poem of the awarded collection “The Fourth Dimension” (1963-1965), at this non-marxist inspiration Yannis Ritsos released from political beliefs approaches the existentialistic balance of the conscious choice between the active, social responsibility and the subjugated art.

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A mítosz mint ősi és közös nyelv

Author(s): Ibolya Tar / Language(s): Hungarian Issue: 1/2015

After discussing some interpretations of the myth (Burkert, Jensen, Jaspers, Eliade) the paper is dealing with the principle of the myth’s appearance in literary works. The real substance of a myth can appear in several treatings, according to the artist’s intention just as to several interpretations. After a short survey of allegorical interpretations two myths (Orpheus and Eurydice, the golden age) are discussed in their several variations. In connect with the myth of the golden age Vergil’s works are examined whether he created especially in the Aeneid a new myth or rather he recreated the myth. In connection with this problem the distinction of fable and sujet by the Russian formalists is discussed. Answering the question whether a myth in its artistical appearance can be expressed by words, Rilke and Hölderlin are cited.

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МАГИЧНИОТ РЕАЛИЗАМ И НЕГОВИТЕ РЕЛАЦИИ СО РЕАЛИЗМОТ

Author(s): Jasmina Mojsieva-Gusheva / Language(s): Macedonian Issue: 1/2017

This article is an exploration of the essence of magic realism. The search for its definition is based on the concept of realism. I outline the main differences and similarities between the two literary movements through a detailed comparative analysis. Magical realism is still realism. In other words, both realism and magical realism are artistic tools that study and describe reality, but they differ in their methodology. In particular, my article discusses the differences and similarities in: method of portraying reality, character portrayal, descriptions, narrative, role of the author, style etc. My comparative study brought about the following results: Realists tend to use logic and rationalism to connect to their audience, while magic realist authors use transcendental experiences, intuition and magic; Realists write portrayals by referring to the ambient. Whereas magic realists write portrayals by referring to an instrumental marvelous detail; Realists usually provide detailed descriptions, while magical realists use baroque-like exaggeration; On one hand, realism is characterized by firm, causal and logical narratives. On the other hand, the narrative of magical realists is spread out and harder to follow; The role of the realist author is obvious – to describe the plot in a direct manner. Whereas, magical realist authors tend to bring about plot details indirectly or in unfamiliar ways; The tone of realist writers is calm and their writing is abundant with clear precise statements. Magic realists are not known for a clear writing style. In fact, their writing is reflective and full of ambiguous descriptions and interpretations.

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Мотивот на созданието (природата) во романите на Мерилин Робинсон и нивното теолошко читање преку космологијата на Максим Исповедник

Author(s): Kostake Milkov / Language(s): English Issue: 16/2017

Четирите прочуени романи на Мерилин Робинсон се поставени во конкретен религиозен светоглед на традицијата на Реформираната црква како што таа се развивала во САД. Голем дел од нејзиниот тео-лошки дискурс во книгите рефлектира контемплативно, посветено и креативно теолошко толкување чии корени таа ги наоѓа во Калвин. Критичарите не ја превиделе посебната улога која созданието ја игра во тоа толкување, а посебно во светлина на Калвиновото нагласување врз посветувањето и осветеноста. Тоа е карактеристика која била зачувана од неговите наследници применета во животот на поединецот, но не била неопходно проширена и врз општиот создаден поредок. Робинсон го прикажува созданието во една многу поцелосна перспектива согласно со Калвин, а што, според проценката на нејзините книжевни критичари е многу добро препознаена. Некои критичари ја забележуваат паралелата на оваа кракте-ристика со делата на класичната западна духовност, традиција која на Калвин му била добро позната. Во моето читање на Робинсон јас предлагам дека оваа паралела оди уште во подалечното минато на аскетските писатели, а кои биле главно влијание врз идниот развој на западната духовност. Преку чита-њето на разбирањето на созданието на Максим Исповедник, јас нудам увид во изненадувачките паралели со оние на Робинсон. Главниот аргумент на есејот е дека и обата автора можеме да ги читаме како конеч-но афирмативни и за интелигибилното и за сензибилното создание, а кои би биле можните придобивки од таквото читање.

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Sonet Adama Asnyka „Smutni rycerze…” Dwie redakcje i replika

Author(s): Tadeusz Budrewicz / Language(s): Polish Issue: 1/2017

This article compares two editorships of Adam Asnyk’s sonet. First, with an inicipate “Smutni synowie...” was printed in 1874. The second, with an inicipit “Smutni rycerze...”, was published in 1896. The first was an appeal to followers of ancient romantic ideals to make the maccept positivism as a historical necessity. The second arose in an atmosphere of acute ideological disputes between the democrats, the conservatives, the peasants and the socialists. Based on the analyzes of press content the author proves that Asnyk’s poems of 1896 were directed against the socialists, because at that time they had been articulating their political slogans in a way that oﬀended national feelings of townspeople and peasants. Te article polemize with the hypothesis that the printing of “Smutni rycerze ...” in the “Dziennik Krakowski” was as a result of a conspiracy against Asnyk. On the basis of Asnyk’s unknown letter to Kazimierz Tetmajer and the autograph of the poem “Dwoje szczęśliwych...” the author undermines the thesis of Asnyk’s acute conﬂict with Tetmajer. Te sonnet “Smutni rycerze...” triggered Maximilian Hertel’s response in a form of a versatile replica that accused the poet of excessive historiophobic pessimism.

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Przekład, parafraza czy plagiat? „Nie-Boska komedia” Zygmunta Krasińskiego po angielsku

Author(s): Aleksandra Budrewicz / Language(s): Polish Issue: 1/2014

The article discusses Robert Lytton’s work titled Orval, or the Fool of Time (1868) which was an English version of Zygmunt Krasiński’s drama The Undivine Comedy (Nie-Boska komedia). The author analyses Lytton’s attitude to Krasiński’s text (Lytton never read the source text in Polish; his translation was based on a French translation), the problem with the genre of Orval (what is its status? Is it a translation, a paraphrase, or a plagiary?), two prefaces to Orval which differ significantly (in the first one Lytton claims that the text which inspired Orval was “a Polish poem of which the author’s name is unknown to me”; in the second, however, he does mention both the author and the title of the source text), as well as two large nineteenth-century critical studies devoted to Orval (by S.E. Koźmian and S. Tarnowski) and shorter contemporary articles (by M. Giergielewicz and T. Grzebieniowski). The major part of the article is devoted to the comparative analysis of the source text (Krasiński’s drama) and its English version (Lytton’s Orval).

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Creator’s freedom. Schulz’s late projects

Author(s): Monika Szyszka vel Syska / Language(s): English Issue: 7/2017

The article discusses the idea of creation coined by authors descended from the same, Austro-Hungarian cultural field, by: Bruno Schulz, Joseph Roth and Gustav Meyrink. Austro-Hungarian Monarchy created its own mithology based on nostalgia for the World, which was consigning to the dark recesses of history. The authors, conscious of inefficiency of contemporary culture, used the idea of Demiurge to show one of possible creating ideas.

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Interprétation et contexte culturel

Author(s): Nina Ivanciu / Language(s): French Issue: 25/2012

The present paper discusses chiefly the modes of valorisation of the socioculturalcontext during the interpretive process regarding thecomprehension of someone else's message, acting in this particular case ina multicultural company. Jointly led to this issue, we include the necessityto keep distance from one's proper familiar paradigm in order to givemeaning to the unknown in accordance with its particular categories, aswell as the construction of a common basis concerning some values,including a set of interpretation manners with a view to avoid themisunderstandings which are harmful to the professional interactions.

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МАГИЧНИОТ РЕАЛИЗАМ КАКО АВТОНОМНА УМЕТНИЧКА ПОСТАПКА

Author(s): Jasmina Mojsieva-Gusheva / Language(s): Macedonian Issue: 70/2018

The paper deals with the definition of magical realism as an autonomous artistic expression through which a deepened form of reality is revealed. It is especially emphasized that behind the synergy of the complex structure of the real and the imaginary there are hidden aspects (postcolonial, transcultural, feminist) that can come out on the surface solely through this artistic undertaking. Through appropriate comparison, a distinction is made between the magical realist and nearby artistic directions (expressionism, surrealism, and fantasy), whereby the conclusion is made that magical realism possesses specific (inherent) characteristics that could be sublimated in the following elements: an irreducible element; spirits and verbal magic; the merging of the spheres of the real and the magical; a disruption of accepted ideas about space, time, and identity. The paper presents a detailed history of the use of the term magical realism and similar concepts (post-expre- ssionism, neorealism, new objectivity, the miraculous real, neo baroque, animistic realism). Several literary traditions (European, Latin American, and African) are also presented, through which magical realism in various variations are examined, including the most famous representatives in literature and film art.

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Петар Кочић у књижевној периодици

Author(s): Duško V. Pevulja / Language(s): Serbian Issue: 1/2018

Four journals are represented in this paper: Pregled, Razvitak, Korijen i Putevi, each having entirely dedicated one of their issues to this writer, regarding the different anniversaries of Petar Kočić’s death. Although being the journals of different editing concepts and poetic orientations and disregarding that they had been published in different epochs, there are multiple similarities between them in terms of their relation to Petar Kočić, his life and work. If observed together, which is the case in this paper, four research lines could be derived from them: a) clarification of the writer’s biography and the context he wrote in; b) marking of the political character and political ideology of this public tribune; v) deliberation of critical estimations about the first books of Petar Kočić and g) interpretation of the inner, both narrative and poetic characteristics of Kočić’s literary work. The rich history of reading Kočić’s works and the constant interest of literary journals for their different characteristics and meanings are also examined in this essay. At the same time, the changes within the approach to a relatively non-extensive literary opus that keeps geting both critical and public interest is also pointed out.

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Werbalna i pozawerbalna dyktatura „wrednych ludzi” w procesie komunikacji

Author(s): Joanna Ślósarska / Language(s): Polish Issue: 3/2017

Presented topic includes following issues: 1) hidden dictatorship of the attitudes of ‘nasty people’ (‘diminishers’) and its influence on social relations; 2) strategies of depreciation that are used by ‘nasty people’ (sowing incertitude, projections, generalizations, adjudications, psycho manipulations, hidden attacks, conflicting signals, provocations, creating illusory situations without exit); 3) verbal and extraverbal manifestations of the archetypes of ‘tormentor/victim’, ‘hunter/ hunted’, ‘attack/escape’ within the activity of ‘nasty people’; 4) long-term violation of the rules of symbolic interactionism by ‘diminishers’. In terms of methodological contexts there are taken mainly concepts of Jay Carter, Eric Berne, Herbert Blumer and Jean Baudrillard. Among historical contexts there is reference to the concept of neurotic personality (Freud, Horney) within the anthropological framework of seduction attitudes and communication play of evident/hidden. The analysis is proceeded on a set of artifacts that constitute oppressive ‘daily practices’.

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СКРИВЕНИ НАРАТИВИ

Author(s): Dragana Vukićević / Language(s): Serbian Issue: 2/2015

The paper is going to analyze hidden narratives which appear in the „places of prohibition^ often as a kind of contrast to an unhidden story. Unlike shadow narratives started off and left open (H.P Abbott), the hidden ones have just been signalized. In order to activate them, one should know broader context i.e. include the historical, ethnological or psychological narratives, for instance. In realism, examples of hidden narratives are plentiful. Erotic cryptograms, for example, are hidden narratives related to a sexual life (of a hero). They came as a consequence of restrictive poetics rules in realism that apply when it comes to a public life of a character. Similarly, the restrictiveness of repressive Soviet System forced D. Kharms to hide narratives related to socio-historical context behind so-called pure children’s stories. The paper is going to trace hidden narratives through a range of stories, paying special attention to the narrative function of lies, secrecy and silence.

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ЈУНАК И СИЖЕ ЕПСКЕ ПЕСМЕ - ТИПОЛОГИЈЕ И ИНТЕРАКЦИЈЕ

Author(s): Danijela Petković / Language(s): Serbian Issue: 2/2014

This paper is a brief overview of a larger research the questions of the hero and the syuzhet of epic poems. Firstly the syuzhet models are typologically divided into seven types and several subtypes, groups, subgroups and clusters. Then we examine the syuzhet’s structure and observe the tendencies of the complex syuzhet’s genesis, and trace the interactions of individual syuzhets. The chapter dedicated to the hero presents relevant criteria of the protagonist classification and an overview of different types of the champion, the autochthonous epic hero. The connections between the heroes of the epic poem are established on the syntagmatic level (couples, triads and catalogues) and the paradigmatic axis (link between heroes from separate syuzhets). The final chapter connects two viewpoints and establishes a link between the hero and the syuzhet. The structure and composition of the epic syuzhet are expressed by the relations between characters. The hero and the syuzhet are in constant interaction, modeling each other and mutually adapting.

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ТЕОРИЈСКЕ ПОСТАВКЕ ЕМПИРИЈСКЕ НАУКЕ О КЊИЖЕВНОСТИ

Author(s): Marina M. Petrović Jülich / Language(s): Serbian Issue: 1/2014

In der vorliegenden Arbeit wird ein Literaturverstandnis vorgestellt und errortert, das vor allem auf den Postulaten des radikalen Konstruktivismus und der Empirischen Literaturwissenschaft beruht, aber auch die neuesten Ansatze aus den Kulturwissen- schaften und der hermeneutischen Rezeptionsasthetik einbezieht. Die Anwendeung dieses Modells verspricht die Uberwindung des Streits zwischen der Schmidtschen Empirie auf der einen Seite und der Interpretation des literarischen Textes auf der anderen.

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ИНТЕРВЈУ CA ЛИНДОМ ХАЧН 20. ЛВГУСТЛ 2009.

Author(s): Radojka M. Vukčević,Linda Hutcheon / Language(s): Serbian Issue: 1/2010

Interview with Linda Hutcheon by Radojka Vukčević

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ПОEТИЧКA CAMOCBECT EПОХE РЕAЛИЗМA

Author(s): Dragana Vukićević / Language(s): Serbian Issue: 2/2007

The paper points to those literary phenomena which — within the discourse dealing with the analysis of the literary text (textbooks, histories of literature, literary criticism, theories of literature, comparativist studies) — indicated and contributed to the strengthening of the realistic norm of narration. Reconstruction of a poetic self-reflection and elucidation of the poetic issues on the current and contemporary realists imply the differences regarding our retrospective knowledge and different insights into that trend, due to the change of context.

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