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REFLECTION IS HAVING A BLAST: THE PARAMETERS OF REPRESENTATION IN ANGELA CARTER’S "LOVE"

Author(s): Anemona Alb / Language(s): English Issue: 1/2019

To say that there is one way of looking at things in a mirror is moot. The ambivalent position of the viewer, who is paradoxically also the viewed, as s/he watches himself/herself in the mirror, as merely confrontational, standing in front of the mirror, no angles, no nuances involved is what begets ambiguity in terms of reflection and rendition in literature or in the visual arts. This paper looks at that very ambiguity.

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The Cartography of Love in Doris Lessing’s love, again

Author(s): Lilia Miroshnychenko / Language(s): English Issue: 38(43)/2020

In her late novel, love, again (1996), Doris Lessing represents a penetrative insight of love, providing the widest perspective of love than in any of her previous work. The abundance and variety of plausible les affaires d’amour, which transgress the boundaries of gender, age, geography, and social status, make love, again Lessing’s most “loveful” novel. The narrative responds to this multiplicity accordingly. The essay explores the theme of romantic love of the central female character, Sarah Durham, who is at the centre of the narrative and whose emotional landscape is meticulously mapped. It also aims to unveil the ways Doris Lessing exploits a longstanding tradition of interpreting love in Western philosophy and culture – from Plato to contemporary theorists, including Alain Badiou. Special attention is paid to the interweaving of love and friendship in the relationship of woman and man as well as friendship’s “healing” power for unrequited love encapsulated in the character of Stephen Ellington-Smith. Also, by tracing the transformative impulse of love, the essay tries to bring light on the constructive (in the case of Sarah) and problematic (Stephen) consequences of love.

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A kora újkori populáris kultúra változatai Angliában

Author(s): Natália Pikli / Language(s): Hungarian Issue: 2/2016

The article attempts to outline in brief the results of the complex interaction between elite and popular cultures in Shakespeare’s age, illuminating the main tendencies with examples taken from William Shakespeare’s, Ben Jonson’s and other lesser known contemporary authors’ (Philip Stubbes, Nicholas Breton) works, focusing on how public theatre and popular book publishing used and transformed originally oral and ritual non-profit productions, turning them into commercial and sometimes political or critical forms. The research is based mostly on a wider range of written records of different status, genre and origin, thus hoping to clarify general tendencies. Critical distincion is also applied with regard to not only the consequences of transforming ritual-oral phenomena into printed text, as explained in Jan Assmann’s theory of cultural memory, but also to different authors’ varying methods of alluding to phenomena of contemporary popular culture.

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JOHN FOWLES’UN BÜYÜCÜ’SÜ: SEVGİDE KEŞFEDİLEN ‘BEN’LİK

Author(s): Vedi Aşkaroğlu / Language(s): Turkish Issue: 50/2021

The Magus, by John Fowles, focuses primarily on woman-man relations, responsibility, and love centered around sex and self-quest themes. carried out by Nicholas Urfe, in Praxos, Greece. Initially, Nicholas, who openly expresses that he has behaved irresponsibly as regards sex and women, is escaping from responsibility, devotion and falling in love. He does not maintain his dating with women for a long time, he avoids being in the same city and tries to find a new relationship to forget the previous one. Yet, Alison destroys this chain of behaviour. Nicholas accepts Greece to get away from emotions and to make a fresh start. There, he meets a very rich and secret man, Mr. Conchis. Soon, he finds himself in a magical game with mythological figures, theatre, dance, music and sex. This game ends up with purificaton of his emotions, a new perception of love and maturation. The inner journey he undergoes will unite him with Alison in pure love. In this article, the role of “playfulness” (an important element of postmodern fiction) in constructing personality will be analyzed. In the Magus, where a two-layered play is performed, the first layer of meaning will be handled as postmodern playfulness, and the play element constructed and performed by Conchis (as the Magus, after whom the title of the novel is selected) and such characters as Julie/Lily in order to educate Nicholas and shatter his Victorian oriented perception of the world will be examined. The main objective in this article is to analyse Nicholas’s inner journey to discovery of his private world and gaining of a deep insight, with such themes as sex, perception, love and responsibility in relation with the element of postmodern playfulness.

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V. S. NAİPAUL’UN NEHRİN DÖNEMECİ ADLI ESERİNDE TARİH VE UZAM

Author(s): Kubilay Geçikli / Language(s): Turkish Issue: 32/2020

Bend in the River by V. S. Naipaul focuses on political, economic and cultural structure of an unnamed country which has gained independence after experiencing colonialism. The fact that the name of the country is ungiven helps the novel have an allegorical aspect. The author wants to emphasize the fact that almost all countries with an experience of colonization have passed through similar processes in the independence years. The narrative makes implicit references to central Africa. Moreover, this novel is remarkable in that it has a special interest in history, place and space. In addition to the comments by the central character Salim and others on history and space, the narrative itself offers the experience of livedness to the reader together with changing perceptions of history and space.

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Parody and metafictionality as defamiliarization devices in Martin Amis’s novel Money: A Suicide Note

Author(s): Loran Gami / Language(s): English Issue: 35/2021

The article discusses the way defamiliarization is achieved in Martin Amis’s novel Money: A Suicide Note (1984) through parody, the comical perspective, and the metafictional elements. In the introduction the concept of defamiliarization is briefly explained while the first section describes the use of parody in the novel. Amis’s book parodies several literary techniques and is also a parody – as well as a critique – of the 1980s Britain and America, especially its consumerist ethos. By adopting a comical perspective, Amis creates a distancing effect between himself and the novel’s protagonist, John Self. He is an unreliable and unlikable narrator and often his description borders on the grotesque, which also adds to the defamiliarization effect. The metafictional elements in the novel, discussed in the second section, are also important and they contribute to the distancing effect, by defamiliarizing what is commonly expected from a work of fiction. One of the most important metafictional (or self-referential) elements is the inclusion of the author as a character in the novel. This technique encourages the reader to re-evaluate the relation the author has with their own work, which is now seen from a defamiliarized perspective.

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Комедија дел арте и њени утицаји на Шекспирову комедију Како вам драго

Author(s): Milena M. Kaličanin,Hristina Aksentijević / Language(s): Serbian Issue: 35/2021

The paper explores the origins, development and basic genre features of сommedia dell'arte. The first part of the paper deals with the archetypal comic elements of сommedia dell'arte. The historical significance of this type of comedy, as Pandolfi (1957) stresses, lies in the fact that it unequivocally confirms the autonomy of theatrical art by imposing the neverending quest for the freedom to critically examine all the aspects of social life without any dose of censorship or limitations. Its comic pattern has the roots in the grotesque and absurdity of real life, which allows for the actors to fully affirm their artistic aspirations.

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Die Dublet Poetik von W. B. Yates

Author(s): Milena Vladić Jovanov / Language(s): German Issue: 35/2021

In the double poetic of W. B. Yeats, a certain relation between poems is initiated; and this relation is not only interpreted by means of various approaches to the theories of intertextuality but rather the theory of deconstruction as well. Yeats makes it so his poems lean on one another, creating in his poetic practice a self-referentiality, owing to the fact that he uses his own poetry as a basis for further verse-creation. Reality is, in fact, art, which is why in the space between poems a narrative pointed toward diverse themes is formed. One of these themes is art and the poet’s experience of creating a work of art which the poet showcases in his own writings through indications such as repeated verses or themes that guide the reader into a multifaceted nexus of meaning and space between poems in which they create and write a new work of art in the form of an interpretation.

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Co zostało z geniuszu? Dziedzictwo Sherlocka Holmesa we współczesnych kryminałach

Author(s): Jacek Mydla / Language(s): English Issue: 36/2021

Arthur Conan Doyle famously popularised science in his series of detective stories by placing its three constitutive elements (scientific knowledge, the collection of evidence, and art of making inferences), in his protagonist Sherlock Holmes. The legacy is present in contemporary crime fiction, but the competencies have been distributed among a group of individuals involved in the investigation. This distribution has affected and changed the position of the detective vis-à-vis scientific expertise. Science, chiefly in the form of different branches of forensics, is as indispensable as the detective, and authors have been working out different ways of making the two work together. As an example of this cooperation, the paper examines Mark Billingham’s 2015 novel Time of Death.

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“Of one entire and perfect chrysolite”: Analysing Discourses of Love in Shakespeare’s Othello

Author(s): Roxana Radu / Language(s): English Issue: XXI/2020

Despite Othello and Desdemona’s “love story” being a subdued one—it culminates in what one might call a triumph of common sense (“Upon this hint I spake”)—discourses of love inhabit Othello, from crude images, to those marked by medical underpinnings and courtly ideals. To complicate matters, Iago challenges Othello’s reliance on knowledge derived from common sense and takes advantage of his “open nature” to initiate him into his own brand of “critical reading.” This paper calls into question the play’s reliance on a “flawed love” by attempting to construct a phenomenology of love that flows from the discourses shaping Othello’s experience of attachment, as well as his own efforts to formulate it.

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Choosing between Nature and Law in Kipling’s Jungle Book

Author(s): Aniela Luminita Rizea / Language(s): English Issue: XXI/2020

In this paper I analyze the notions of Nature and Law that gravitate in Rudyard Kipling’s The Jungle Book. Based on different opinions and historical events, it explores the destabilization of the border that separated the natural and the social in colonial India. The content and scope of the Rule of Law of the imperial centers is also worked in relation to the “non-human” subjects that inhabited the colonial territories. It is observed that, in the Jungle Book, the line that separates the social and the natural is a border in constant movement. It is concluded that the destabilization of spaces and subjectivities invites a reflection on the lodging of strangers, nonhumanized and dehumanized beings that inhabit our communities.

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Књижевност и фотографије Роџера Фентона у контексту викторијанизма

Author(s): Goran Gavrić / Language(s): Serbian Issue: 173/2021

In this paper, we bring together Victorian literature, primarily Alice in Wonderland by Lewis Carroll and the poem about a wounded deer by Emily Dickinson, and Roger Fenton’s photographs from the Crimean War and his photographs of deer. Thereby, a parallel is drawn between the powerful symbolism of the deer and its transformation in Victorian literature on the one hand, and the depiction of a wounded soldier in Fenton’s photographs. By comparing scenes from war photographs, deer photographs, and the photograph of a wounded soldier, with scenes described in Victorian literature, we try to penetrate deeper into the photograph itself, using the richness of the literary language. We also discover that which photography and its visual language make very clear to us, which literature has either missed or needs too many words to achieve a similar effect. Considering that the relationship between literature and photography, in the context of the so-called photo-literature, is extremely complex, we try to shed some light on it using a modest sample of segments drawn from a few works of literature, and photographs by Roger Fenton.

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Edmund de Waal: Pjesme

Author(s): Edmund de Waal / Language(s): Bosnian Issue: 5-8/2020

Untitled poem written by Edmund de Waal.

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მითოპოეტიკური სივრცე და გზის მითოლოგემა ჯოზეფ კონრადის ნოველაში "წყვდიადის გზა"

Author(s): Temur Kobakhidze / Language(s): Georgian Issue: 22/2021

From the viewpoint of the genre, Heart of Darkness comprises all the features that pertain to modernist short fiction. However, the novella, published as early as in 1899, predates the golden age of modernism by quite a period of time. Mythopoetic space of modernist work represents its inner dimension, rife with images of symbolic and archetypal significance and their connotations. In works organized by conscious myth-making, this space is often created by alluding to archaic, biblical, or Greco-Roman cosmogonies and eschatological myths, along with allusions to ‘sacred and forbidden’ knowledge, esoteric texts, and widespread intercultural icons. Apart from special intellectualism, all such texts are unified by the common feature of non-mimetic attitude towards reality. As early as at the end of the 19th century Joseph Conrad was first to depict such an image – fictional African jungle and the winding waterway of the river, which emerges as the formative symbolic image of the space. All these symbolic and associative images distinguish the mythopoetic space of Heart of Darkness as a very important subtext – a kind of in-depth ‘text within the text’, or meta-text. It is perceived differently from the surface meaning of the work, and its symbolic and semantic connotations indicate a different kind of reality – not the one which is directly conveyed in Heart of Darkness, but as if it was ‘something else’, something specifically vague and indefinite, but ubiquitous in Conrad’s novella

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Ferris Wheels, Faust, and Forms of Influence in Malcolm Lowry and Graham Greene

Author(s): Randall Stevenson / Language(s): English Issue: 36/2021

Ferris Wheels seem to fascinate film-directors – notably Carol Reed in The Third Man (1949), based on Graham Greene’s story and script. Though Ferris Wheels figure less conspicuously in twentieth-century novels, Malcolm Lowry provides an exception in Under the Volcano (1947), a novel also comparable to The Third Man in other ways. One explanation might be that Greene simply drew on Lowry’s example when developing his film-script (later published as a novella) – work begun very shortly after Under the Volcano had appeared. More plausibly, each writer might be understood to have responded separately, though similarly, to the unique pressures of their age. Identifying how these stresses were represented in their work, through cognate symbologies, may suggest some productive ways of reading historically.

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Zaman, Mekân, Beden ve Öznelerarası Düzlemde Sanatçının Bir Genç Adam Olarak Korkusu

Author(s): Ahmet Hakan Yilmaz / Language(s): Turkish Issue: 18/2021

In most studies on emotions, researchers have proposed that there are some primary emotions. The number of these basic emotions is said to be at least four and they include happiness, anger, sadness, and fear. All other emotions build on these four primary emotions. In this study, first, by employing a phenomenological framework, time, space, body, and intersubjective dimensions which are part and parcel of the self’s existence will be discussed, and then how the emotion of fear is experienced and felt in these four dimensions will be analyzed. Furthermore, what role these dimensions have in the formation of fear and what changes they undergo during the experience of fear will be examined with reference to two incidents that befall Stephen in James Joyce’s A Portrait of the Artist as a Young Man.

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Jeanette Winterson’s Encounter with History: The Daylight Gate as an Example of Historiographic Metafiction

Author(s): Özge KARİP SEYREK / Language(s): English Issue: 18/2021

Postmodern rejection of objective knowledge and of the belief in language to provide a faithful representation of reality lead to the reappraisal of various notions including history and bring a different approach to its relation to literature. Coined by Linda Hutcheon, the term historiographic metafiction defines an experimental form of historical novel which problematizes the conventional notions of historiography. Jeanette Winterson’s The Daylight Gate focuses on the famous Pendle Witch Trial and develops a counter-history by employing the perspectives of those whose stories are excluded for ideological reasons. This paper aims to analyse The Daylight Gate as an example of historiographic metafiction in terms of its blurring the boundaries between fact and fiction and its deconstruction of the monolithic nature of history through alternative voices. This study also explores the ways in which Winterson demonstrates the subjectivity of historical discourse as well as its textual and constructed nature.

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Biografski žanr u romanu Flaubertova papiga, Juliana Barnesa

Author(s): Merima Fejzić Đonko / Language(s): Bosnian Issue: 16/2021

The purpose of this research is to explore the major biographical elements in Julian Barnes ’s novel Flaubert parrot. The main difference between traditional biography and fictional biography will also be examined in this research. Traditional biography is based on factual evidence or situations that are objectively true, following the chronological order. Fictional biography, in contrast, combines the elements of facts and fiction. For instance, Barnes writes not just one chronology, but three in this novel: the first one is about his achievements and success, the second one is about deaths and the third one is composed of quotes that Flaubert wrote himself. Throughout employing the historiographic metafiction, Barnes questions the fictitiousness of historical narratives, keep reminding us that what we read is a construct, a work of fiction. In this paper we will examine the elements of historiographic metafiction .

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Elements of Historiographic Metadrama in Liz Lochhead’s Plays: Blood and Ice and Mary Queen of Scots got her Head Chopped off

Author(s): Adisa Ahmetspahić / Language(s): English Issue: 18/2022

The most prominent concerns of contemporary British literature have been reserved for the revision of tradition and history and contestation of metanarratives through historiographic metafiction and historiographic metadrama. Liz Lochhead’s works are abundant in elements of historiographic metadrama which Lochhead uses to rewrite (hi)stories from a different angle, especially (hi)stories involving famous women and their position in the society, as is the case with Blood and Ice and Mary Queen of Scots Got Her Head Chopped Off. Blood and Ice focus on Mary Shelley’s process of writing her novel Frankenstein while Mary Queen of Scots got her Head Chopped Off presents Mary Queen of Scots and Elizabeth I in the light of their strained relations. Pertaining to Blood and Ice, the aim of this paper is to discuss the position of MaryShelley as a woman artist surrounded by Romanticists such as P.B. Shelley and Lord Byron and their liberal humanist ideology which shows great indebtedness to the patriarchal metanarrative. With regards to Mary Queen of Scots Got Her Head Chopped Off, the paper examines MaryStuart and Elizabeth I’s roles as women and monarchs, masculinity-femininity dichotomy surrounding the queens, the problematics of their historical representation, as well as the danger of their mythologization. The analysis of the elements of historiographic metadrama in the two plays shows that they are examples of ‘herstories’ that dismantle male-centered narratives as imposed rather than natural.

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Authoring the Readerly Experience: On Materiality, Multimodality and Singularity of Literature in Nicola Barker’s H(a)ppy

Author(s): Tymon Adamczewski / Language(s): English Issue: 3/2021

This article offers an overview of typographical and experimental strategies employed in contemporary novel writing in the context of author-ing, authority, freedom and experience programming. Nicola Barker’s novel H(a)ppy (2017) is discussed as an example of a rising trend in contemporary literary production characterised by an emphasis on multimodality and materiality of texts where the physicality of writing serves as a significant mode of communication, simultaneously aiming to transcend its medium. My claim is that although visually engaging and fascinating in itself, the typographical experimentation, apart from connoting a degree of liberation for both the writer and the reader, can also be looked at from the point of view of a particular “authoring,” i.e. programming of reader’s reception. This approach is contextualised against the backdrop of the theoretical discussion concerning the notion of author (Roland Barthes, Michel Foucault, Jacques Derrida) as well as aspects of materiality of writing and of subverting authority in postmodern fiction and visions of the reader in multimodal texts. This is followed by a reading of the novel with reference to its themes of control and typographical experimentation. The article also recognises a performative aspect of such type of writing.

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