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My present study problematizes the postural variables in the writings of Gellu Naum, in an attempt to demonstrate that all his poetic texts are based on recursive enunciation schemata, rules of coding
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Sans attirer pour longtemps l’attention d’Ivan Vazov, la Roumanie a joué un rôle spécial dans sa vie personnelle et artistique: – ses premières poésies et ses trois premiers livres y ont été publiés; – quelques-unes de ses idées générales sont formées parmi de nombreux compatriotes habitants la Roumanie cette époque (un grand nombre de nos phénomènes nationaux ont eu besoin du milieu étranger pour devenir soi-même – un paradoxe qui exige son explication); – des traits physionomiques du poète, évolués en Roumanie, sont restés invariables toute sa vie; – les relations entre les émigrés bulgares et la société roumaine ont été présenté par ses oeuvres avec fidélité; – l’aide discrète de quelques hommes politiques roumains (par exemple Ion Bratianu) a soulevé l’esprit de notre émigration et Vazov a exprimé la reconnaissance qui leur est due; – après la chute de l’Insurection d’Avril plusieurs révolutionnaires bulgares ont cherché abri au-delà du Danube. La Roumanie a été nommée par Vazov “la terre hospitalière de la liberté” – c’est un des rapprochements les plus étroits entre la patrie et un pays étranger. Ce rapprochement devient encore plus catégorique dans le récit “Veliksin”. Son héro – poète, journaliste, homme public – se sentant Bulgare, appartient à la fois à la Bulgarie et à la Roumanie: il a vécu dans les deux capitales, son oeuvre est créé en deux langues, son testament favorise des villes roumaines et bulgares. Veliksin n’est pas “partagé entre” les deux pays – au conraire, il en fait un tout. La construction du personnage historique et littéraire uni les elements nationaux différents, remplaçant leur rivalité par égalité. Le contexte roumain chez Vazov fait naître une vision patriotique plus large et générale, au-dessus des frontières historiques.
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The article discusses the works of F. Fenelon—Telemak, Selected spiritual creations. The reasons for the success of his translated works in Russia are briefly analyzed. The article highlights the peculiarities of understanding the works of antiquity in them: the Christianization of ancient material by Fenelon. Telemachus wanderings, "the search for the father by the son" are accompanied by the process of the hero's moral growth, moral transformation, replacement of the "old man" with a "new man".
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The anthropological approach to issues commonly discussed from a political and economic point of view offers an interesting insight into the latest Russian fantasy literature. This text introduces optics taken from the already classic in some circles works of David Graeber into the field of reflection on Russian contemporary prose. Beginning with Graeber’s concept of bullshit job, outlines an anthropological interpretation of the actions of Yevgeny Lukin’s hero of the novel Чушь собачья . Its point of focus is the problem of emotional exploitation at work, leading to psychological destruction, to the point where the outside of work self of the worker is reduced to an uncomfortable remnant, sacrifice of which no longer seems to be any serious loss and the highest sacrifice becomes welcomed as a kind of a relief.
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Николай Васильевич Гоголь (1809-1852) – прозаик, драматург, критик, публицист – один из гигантов изумительной русской литературы, которая является, по выражению И.И. Тхоржевского, «лучшее, что было создано русским народом, один из ключей к познанию вообще России». Достоевский включил Гоголя в ряд «неоспоримых» гениев после Ломоносова и Пушкина. Тот, кто сотворил целую вереницу знаменательных литературных фигур, как Тарас Бульба, Хлестаков, Чичиков, Собакевич, Акакий Акакиевич Башмаякин, и многих других известных и незабываемых его персонажей, оказал огромное влияние на развитие русской литературы последующего периода. «Мы все вышли из шинели Гоголя» писал тот же Достоевский. Первые румынские переводы появились вскоре после смерти русского писателя: Записки сумашедшего (1860, 1899), Шинель (1876, 1882, 1887), Коляска (1892). Александру Одобеску, известный румынский писаьтель и крупный ученый-археолог, включил в свой шедевр Pseudokinegetikos прекрасный отрывок из повести Тарас Бульба о русской степи. В ХХ-ом столетии творчество Гоголя было переведено на румынский язык почти полностью. Из его эпистолярного наследия публикуем впервые на румынском языке две главы (XV – Предметы для лирического поэта в нынешнее время, и XVI – Советы) из нашумевшей в свое время знаменитой книги, известной под заглавием Выбранные места из переписки с друзьями (1847 г.). Она содержит (кроме Завещания и писем) и несколько литературнокритических очерков, самая интересная и ценейшая часть этой последней книги великого русского писателя.
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The history of censorship in Russia is unusually sad. But Ukraine would still be comparatively fortunate if only the censorship laws were applied to it to the same degree as in Great Russia, or as in Poland or Finland. Special censorship laws for Ukraine have always been promulgated in Russia, and they have been applied with draconian cruelty, unlike the case for the other nationalities. I therefore think it will be interesting and useful to acquaint my readers, if only briefly, with the more or less striking features marking the history of the treatment of Ukrainian literature by the Russian censorship laws, a survey of which is the object of the present article.
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Tess Durbeyfield is the heroine of the novel. According to the concept of Greek Tragedy a hero or a heroine should be great figure by birth or achievement. But Hardy created his heroes and heroines from ordinary Wessex men and women. In tragic grandeur and sublimity she stands in front rank. The simplicity of her nature, the nobility of her soul, the capacity to suffer, the spirit of effacement, and her purity all make her one of the sublimest heroines of English Literature. Tess is the simple sincere and passionately faithful and as different as possible from those fickle and elusive young women was display, in some of his other tales affections as veering as weather-cocks. Her stoicism and her devotion to her husband win the admiration and sympathy of many generations of readers. She has dominated the novel not by the aggressiveness of her character but by her sweet and tender humility. The present paper is an attempt to explore the different shades of Tess’ vivacious character.
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A prisoner of his own phantasms of demiurgical power in the aesthetic realm, and not only, the total writer is the author of a kind of literature that no longer wants to be subdued, but aims to run parallel to or even become emancipated from the ideological discourse of power. Although duplicitous (and complicitous) with “what oppresses” him – if I were to sponge here a phrase from Groys’s ideologically suspicious interpretation, the total novelist from the period of socialist aestheticism cultivated a compensatory bovarism. Whether consciously or not, he rivalled the political decision- makers of the time and their ideological fiction. In relation to previous periods – of the Jdanovist doctrine and socialist realism– the literature of the 1970s fulfilled the authors’ phantasm of power. The nationalism and authoritarian centralism of political will were reflected in the centralism of the will to authorial power, a power that was all-encompassing, totalizing.
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Multiple works have been written on the topic of Saracen-Christian interaction in Medieval romances, while combining and commenting on the similarity between Said’s theory and the hostility between two ethnic groups. For a more expanded analysis and further research on this field, current article will explore friendly occasions, shared experiences, tolerant and accepting attitude while at the same time focusing on the hostile side of the relationship as well. Because both ways will be examined, the approach of this paper is seeking a broad framework within which the descriptions of Saracens/Christians, friendships and familial affiliations will be analyzed. Three Anglo-Norman romances have been selected for this purpose, namely Boeve de Haumtone, Gui de Warewic and Roman de Horn. This paper will particularly focus on Said’s Orientalism and subsequently combine his notion with the romances. However, rather than merely emphasizing the inimical tone, the aim is to communicate the fuzziness that seems to surround the romances by means of both positive and negative portrayals. The paper at hand will discuss examples from medieval texts that point to a Saracen-Christian interaction of a more complicated kind rather than entirely conflictual matters as has often been stated.
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The huge issue of identity representation in fiction seems to have gained ever more weight over the past decades by an unprecedented variety of problematics in the “ethnic writing” by authors from minority communities that have been marginalized before the favorable cultural shift occurred in the Canadian society of a recent past through more hospitable legislation. Such ethnic writers expand the social concept of identity more often than not by blending sexuality and race, nationality and ethnicity in their narrated experiences with the struggles for recognition and integration. Cultural division in such a society is the focus of this article, in conjunction with a Chinese family’s drama which particularly affects the child protagonist and her personal experiences during the process of acculturation in the novel Midnight at the Dragon Café by Judy Fong Bates.
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In this text, I interpret Karel Čapek’s novel War With the Newts (1936) as a sociological work and analyze the concept of the modern age that it presents. First, I show in what sense Čapek’s work was sociological. Following Theodor Adorno, I suggest that the difference between literature and sociology is not of a fundamental but of a historical and analytical nature, and that what defines sociology is not method, empiricism, or explicitly defined concepts, but the insightful notion of social totality. In Čapek, I analyze a totality that I find in his concept of the modern age. Such an analysis provides insight into the self-destructive power of modern society. I suggest that Čapek’s portrayal of modernity still applies today and that we can recognize the same patterns he presented in the world around us.
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The Zuckerman project is characterized by a variety of narration techniques. The first book of the project is a first-person narration. A different narration technique (third-person narration) is adopted with the second installment, i.e. Zuckerman Unbound (also maintained through The Anatomy Lesson). Then Roth switches back to first-person narration and the diary style in the “Prague Orgy” and introduces fractures specific to metafiction in The Counterlife. Next, with the American trilogy he draws heavily on the technique called paralepsis. Finally, with Exist Ghost he surprises again. Over the course of the Zuckerman project, Roth submits his authorial audience to a continuous puzzlement, disregarding expectations or better said mocking at their expectations and their urge for the logical linkage with what the previous autonomous books conveyed.
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The focus of this article is the correspondence between Nadezhda Mandelshtam and Lydia Ginzburg from 1959 to 1968. Nadiezhda Mandelshtam is the widow of the poet Osip Mandelshtam, a biographer and essayist. Lydia Ginzburg is a scholar specializing in literary studies, novelist, esseyist and biographer. This is the first time Ginzburg’s letters have been a subject to systematic analysis. This article is devoted to one of the multiple layers of meaning of their correspondence — a dispute about the nature of poetry and to approach to its study by these two great women, who possessed a powerful male intellect, literary gift and extraordinary experience.
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А.С. Грибоедов открывает одну из самобытных страниц русской литературы. Он по праву считается родоначальником русской драматургии. Славу драматургу принесла комедия Горе от ума, написанная сразу после войны 1812 года, когда особое внимание стало уделяться духовной стороне развития личности. На первый план в комедии выдвигаются острые социальные проблемы того времени, основной из которых была отмена крепостного права. Сюжет комедии составляет конфликт между Чацким, молодым дворянином, вернувшимся в Москву неизвестно откуда, и обшеством, которое упирается в некую закоренелость и духа и действия и вовсе не готовo принять новое. Чацкий – главный герой комедии. Именно он должен быть указать выход из социального застоя. Но указал ли он его, и если нет, то почему? Чацкий в своих пылких монологах клеймит «век минувший» и его представителей. Свои обличительные речи он произносит грозно, воодушевленно. Он прекрасный оратор. Но он «спотыкается» на деле. Он сам ещё находится на полпути к воплощению своих идеалов. Чацкий умный человек, понимающий смысл жизни и имегощий цель, но он ещё не знает, как этой цели добиться. В Чацком собраны черты, которые были характерны для всей передовой интеллигенции того времени. Образ Чацкого – первый в русской литературе образ дворянского интеллигента, бросившего вызов своей среде, осознавшего своё гражданское достоинство. Но несмотря на свой ум, честность, смелость, герой Грибоедова остается непонятным не только обшеством, и любимой, но самим читателем. Он ещё «не возмужал» окончательно, но уже томится в кругу отечественников. В своём «противостоянии» Чацкий пока одинок, а в одиночку «устоять» довольно не просто. Но ведь всегда остается надежда? Вот надеждой пока и выживаем.
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The recent book Hudebníček (2020) by M. Černý and P. Nikl is a multimedia project in which musical instruments are thematised by joining words, pictures and music. The book is multigenre. It can characterised as a poetry, (sound) dictionary of music instruments, picture book or illustrated encyclopaedia. The alphabet is the only compositional principle for its verbal, pictorial and musical parts. Multimedia combination of words and pictures (in the book), words and music (on the CD), intermedia references such as thematisation (music instruments) and imitation (auditivity of the text) are utilised in the book. The book has a potential to develop not only interdisciplinary relations in school, but also a creative approach to art education.
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Adrian Păunescu is the initiator of an unprecedented cultural phenomenon in communist Romania, Cenaclul Flacăra, which, together with poetry, incorporates music and choreography into a show that synthesizes nationalist themes with those of Western pop culture. From the perspective of literary postures and the idea of the author as the sum of social representations and theatricalization of the self as theorized by Jérôme Meizoz, Nathalie Heinlich or Boris Groys, Adrian Păunescu assumes different “roles”; from that of poeta vates to that of court poet, from the entertainer to the educator of a new generation of young people, the bluejeans generation, from the propagandist to the liberator from the yoke of conventions. The present study reviews these roles by analyzing their significance in the context of the age, also called “the Golden Age” in termes of propaganda.
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The article aims to identify possible worlds and their mediators in their metaphorical, symbolic and archetypal properties in fairy tales and Afro-American rap lyrics. The rap lyrics semantic structure involves a great worlds variety. Some of them intersect with the fairy tale magic worlds. The world of death imagery indicated in the rap lyrics by demetaphorized compound imagery with a naturalistic-physiological component, is associated with the archetypally bound fairy tale “the other world”, denoted by fabulous toponyms and fairy topoi. The mediators of these worlds encompass some magical tools and super-abilities, designated by conceptual metaphors, metonymies and hyperbolized similes in the rap lyrics and by narrative means in fairy tales. The oneiric world is mediated by nominations of hallucinogens in the rap lyrics and sacred food and drinks in fairy tales. While the latter mediators add strength or serve as a means of correction of an evil character, based, respectively, on the narrative motifs of redemption and victory of good over evil, the rap oneiric mediators refer to fear and degradation, indicated by visual oneiric images. The mediators of world of inspiration, not appropriate to fairy-tales, use wings (ability to fly and counteract the gravity), designated by conceptual metaphors. The world of wonderful status transformation, inherent to the rap lyrics, is denoted by the symbols of material well-being, based on the archetypal narrative motifs of the hero transfiguration and reward.
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Any modern approach to a Marxist theory of culture must begin by considering the proposition of a determining base and a determined superstructure. From a strictly theoretical point of view this is not, in fact, where we might choose to begin. It would be in many ways preferable if we could begin from a proposition which originally was equally central, equally authentic: namely the proposition that social being determines consciousness. It is not that the two propositions necessarily deny each other or are in contradiction. But the proposition of base and superstructure, with its figurative element, with its suggestion of a definite and fixed spatial relationship, constitutes, at least in certain hands, a very specialized and at times unacceptable version of the other proposition. Yet in the transition from Marx to Marxism, and in the development of mainstream Marxism itself, the proposition of the determining base and the determined superstructure has been commonly held to be the key to Marxist cultural analysis.
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Review of: Alexander Fiut, Czesław Miłosz – un Gulliver al secolului al XX‐lea. Traducere şi note de Constantin Geambaşu, Editura Universităţii din Bucureşti, 2012, 268 p. ISBN 978‐606‐16‐0191‐2. (Dagmar Maria Anoca)
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