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A szép szenvedés könyve
Egyed Emese: Briszéisz, Erdélyi Híradó Kiadó, Elõretolt Helyõrség Szépirodalmi Páholy, Kolozsvár, 2011
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Egyed Emese: Briszéisz, Erdélyi Híradó Kiadó, Elõretolt Helyõrség Szépirodalmi Páholy, Kolozsvár, 2011
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On the basis of Joy Kogawa’s “Obasan”, the main objective of this paper is to take under the scrutinizing eye how the central protagonist retrieves a selective portion of her childhood memories during the Second World War in an effort to reshape her fragmented identity as a Japanese-Canadian and to deal with the feeling of displacement. Analyzing essential memories, conversations, and stories within the plotline, the aim is to demonstrate that Naomi, in order to fight her identity crisis and feeling of displacement — due to the Japanese community’s sense of belonging in Canada being shuttered by the Canadian government — recasts her personal experiences to her own needs for the identity refashioning in-between cultures, therefore, in Homi Bhabha’s terms, giving life to a sort of “Third Space.” This paper will therefore demonstrate numerous ways in terms of which the protagonist intrudes upon iconic wilderness and rural landscapes in Canada — hitherto emptied of the indigenous and minorities and thus functioning as a sort of privileged sites of national identity — so as to transform them into heterogeneous and more inclusive spaces, breaking the binary opposition between away and home, a newcomer and native. Significantly, the protagonist’s storytelling may be distinguished by great attention to nature, botanical imagery, and landscapes shaped by experiences of displacement, and it may be argued that the novel is targeted at re-visiting traditional sites of identity construction as well as bringing into tensions historicizing and idealizing visions of the natural environment to challenge the myths of Japanese-Canadians’ identity that these sites were hitherto created to support. It brings into life a “Third Space” in the form of a personal island which will neither float to the Japanese Archipelago nor towards Canada, but it will be a separate entity including both. Hence, the dialogic relation between identity and rural and wilderness landscapes provides alternative forms of meaningful emplacement for the self — a personal “floating homeland” anchored in-between the two cultures.
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An interesting conceptual dispute, usually called a confrontation between “the old” and “theyoung”, developed at the end of the 19th and the beginning of the 20th century. Although by itsname defined as a “clash of generations”, the dispute was basically rooted in differences betweentwo groups of writers concerning their attitudes toward arts: of traditionalists, whose starting pointwas the principle of the unity of truth, beauty and good, and of modernists, who relied on aestheticism and concept of l’art pour l’art’. “The young”, while upholding individualism, particularlyused to stress their anti-Catholicism. The author checks whether at their root there was anti-Catholicism. He comes to the conclusion that Croatian Moderna was not an organised anti-Christianor anti-Chatolic movement, even though it isn’t doubtful that anticlericalism of “the young”, toa large degree, assumed contours of antagonism towards public expression of Catholicism in culture, harbingering at the same time secularist conceptual processes that were expressed later in thepolitical field and all the other fields of social life.
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Sława i chwała [Fame and Glory] by Jarosław Iwaszkiewicz has been named as the author’s masterpiece. The work contains autobiographical elements and constitutes a summary of the writer’s ethical experiences, a historiosophical and philosophical synthesis. Only a few reviews have been published concerning the TV series adaptation, directed by Kazimierz Kutz under the auspices of the Polish Television in 1997. The first part of the article (Sensuality recoded) examines the specificity of the imagery of Iwaszkiewicz and Kutz, i.e. the translation of the sensuality of this prose to the language of cinema. Points 2–4 (Antiheroism, “Fame and Glory” as a social panorama, Dilemmas of a 20th-century artist) focus on the reading of the sense of the novel and the way the director relays it on the screen. The final considerations (Infamy) examine the causes of the commercial failure of the adaptation and make an attempt to evaluate the series. It turns out that, despite a modest budget and limited airtime, Kutz has preserved much of the spirit of the original work – it is still the same story about the end of a certain world.
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In the 20th century in the 90s they started to apply actively the features of feminist criticism which were formed in American and European theoretical branches in the middle of the 20th century under the strong influence of Simone de Beauvoir’s existential point of view of a woman as a historical phenomenon to the analyses of female artistic images in the Ukrainian literary studies. The representatives of this literary school believe that female image in literature is a role model and presents a way of “socialization”. However it must be remembered that an artistic image is a fiction which does not correlate directly with reality, but is only an imitation, thus there lies its “conventionality”. “Conventionality” opens nonidentity of female images in literature and their prototypes in life. R. Jakobson differentiates “primary” and “secondary” “conventionality”. “Primary” conventionality is realistic as it reflects reality. R. Jakobson disproves the theories that defend the practice of plausibility and talks about “secondary” “conventionality”. “Secondary conventionality” destroys plausibility when it recombines the system of characters and displays creativity beyond the limits of the possible. In this case the “socialization” is expressed in the way that a literary work “tells” about the character’s formation when he\she implements cultural norms and social values. The “socialization” is determined by the influence of society on emotions of literary heroes that encourages them to reflection, reveals them not only as the objects, but as the subjects of an active action aimed at social realities. In the works by S. de Beauvoir the principle of “socialization” determines reference to “secondary” “conventionality” and opens the prospect for the object’s / subject’s development. The active “action” of subjects happens the real existence of the individual when he\she tries to know him or herself. “Feminine” is the transcendental (“secondary conditional”) unlike “female” and “feminist” which seems “real” (“social” “conditional-primary”). The aim of feminist criticism is to research female characters in male and female literature in order to reevaluate the experience, reconsider the literary canon, return from oblivion the texts written by women. Its representatives give special attention to the study of power relations that demonstrate the extent of patriarchy in one or the other culture, in order to destroy this patriarchy.
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A white woman’s murder by a black man, as depicted in Doris Lessing’s The Grass IS Singing, incorporates the revengeful act of an abandonment-neurotic black servant against a white female master with tactile delirium in the course of a paradoxical relationship of love and hate. The final homicide and the consequent act of surrender by Moses, the murderer, convey his paradoxical attitude toward his white master beloved. This attitude begins with hatred, intensifies with mutual affection, and ends in murder. Focusing on the interracial revenge that takes place in the novel under study, the authors of this paper argue that Moses’ motivation in killing Mary originates from the ambivalence of his state of living under colonization and his learnings in Christianity, struggling with the Double-Effect Reasoning inaugurated by and in defense of black honor or negritude. As such, Moses’ sense of guilt and his subsequent surrender are the consequences of traditional and colonial internalization of sin, already present in him as a native of his revenge or honor based society, influenced by Lobengula’s rule in which the criminal submits to punishment willingly, as well as missionary teachings. Through an interdisciplinary link between the Double-Effect Reasoning and the psychoanalytical perspective to the black problem promoted by Frantz Fanon, The Grass Is Singing thus seems to exempt Moses in his crime against the white race, represented by Mary, as well as to justify Moses self-surrender in defense of negritude and black honor.
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The two hypotheses on the original language of the Thessalonican Legend are compared in a quantitative way using the procedures of Bayesian inductive logic. The ratio of likelihoods is calculated as that of fuzzy likelihoods using the apparatus of the theory of (intuitive) fuzzy sets. The method could be convenient in humanities for quantitative evaluation when the number of alternative hypotheses is reducible to two.
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Taking into account the funeral scandal related to the poet’s burial, it can be rather difficult to study the fates of Norwid’s body or to put under scrutiny the whole problem area of the poetic “necrography” of the author of Promethidion as well of the broadly understood funeralism of the Great Emigration. In the sense presented above, the author follows the steps taken by Stanisław Rosiek, who focused his research on Adam Mickiewicz’s body and devoted him a monograph entitled Zwłoki Mickiewicza. Próba nekrografii poety [Mickiewicz’s body: an attempt at the poet’s necrography]. The necrographic myth related to Cyprian Norwid has never emerged and is very unlikely to develop in the future. Yet, it may be worthwhile to venture an opposite myth in Norwid studies, which can be described with the use of the metaphor proposed by Jean-Pierre Richard of “depriving culture of the bones of (its) fathers.” The article also takes a view of Norwid as “an émigré against the émigrés” in the sense of his opposition to the funeral propaganda of the supporters of the Czartoryski Family using the Montmorency cemetery, while Norwid contested their choice, acting as “Norwid of Montmartre.”
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The following analysis of the poetry of Lorna Crozier, a Canadian contemporary poet, owes a lot to the discussion concerning the changing perception of animals in present-day Western culture. The boundary between the human and the animal becomes, therefore, blurred, which, in turn, is reflected in, for example, new laws that regulate the legal status of apes. The traditional man vs. animal or culture vs. nature dichotomy seems to be particularly interesting in the Canadian context, where the volatile nature of the wilderness has been understood primarily in the context of threat to the human life. Thus, the theorists of Canadianness have emphasized the strictly-defined boundaries between nature/wilderness and civilization. However, Lorna Crozier—a Canadian prairie poet—understands those boundaries not as places of rupture, but rather as places of convergence, places of meeting between the man and the animal, in which interspecies communication becomes possible.
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The subject of the analysis is the poem by Czesław Miłosz from the volume To, entitled “Nad strumieniem”. The task the author embarked upon boils down to the answer to the question: how does a specific idea(its hidden mental message) develop in this poem and what results from it for the idea as well as for the poem. The proposed reading takes place at three levels. Preliminary reconnaissance is made by naive reading consisting in the reconstruction of the situation portrayed in the poem, in the recreation of that which can be fund, so to say, on the “surface” of the poem. Next, the author launches these contexts which in Miłosz’s representation of the attitude of man towards nature allow one to notice balance and harmony, coming to terms with life and wisdom, which is based on distance and silence. At the third reading level, the author refers to the image crowning opus magnum by Charles Darwin, in which a similar situation—contemplation in the open nature—leads to the formulation of the answer to the question about the sense of “fight in nature, famine and death”. This answer is juxtaposed with the ending of Czesław Miłosz’s poem: „Wydaje mi się, że słyszę głos demiurga:/ Albo nieme skały jak w pierwszym dniu stworzenia,/ albo życie, którego warunkiem jest śmierć,/ i to upajające ciebie piękno”. („It seems to me that I hear the voice of demiurge:/ Either silent rocks as on the first day of creation, / or life, whose condition is death,/ and this beauty engulfing you”).
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Aforizam je ime. Kao što mu ime kaže, aforizam odvaja, bilježi disocijaciju (apo), završava, razgraničuje, utvrđuje (orizo). Aforizam dovršava odvajajući, odvaja kako bi dovršio - i odredio. […]
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Looking back through the history of detective/mystery fiction I would like to find out what it is that has helped to establish the genre and win it the position it holds within literature. One of the pillars of the genre is definitely the character of the ‘Great Detective’, more particularly the exceptional and outstanding one - Hercule Poirot. I tried, therefore, to analyze him as a character through his creator’s attitude to media and their treatment of her Detective, and the degree to which the most recent adaptations had helped to establish what can today be defined as a literary character which long ago became fixed within British pop-culture. The question, quite simple to ask but definitely not that easy to answer is – what was it that made the typical detective of the Golden Age (the period of roughly the 1920s and 1930s i.e. the most prolific years for mystery fiction) become an icon of the modern times literally round the world such a long time after his coming to life? Some information that is dealt with in this text may be generally known but I see it as important to refer to it as it is essential for understanding the process of changing the literary experts’ attitude to and treatment of mystery novel, as well as for understanding the process of Poirot’s becoming a (fictional) brand.
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The aim of this paper is to examine how the concepts of trauma and hauntology intertwine each other in the play Beside Herself (1990) by Sarah Daniels – a British contemporary woman playwright. Sarah Daniels’s dramatic plays present the critique of patriarchy as well as the stereotypes and prejudices in contemporary societies (Godiwala 2003: 121). The subject matter of Daniels’s plays is also the problem of violence and abuse towards women (Griffin 2000: 194-211).The main reference for the analysis will be the portrayal of Eve – the inner self of the protagonist Eveline. Incorporating the theory of trauma, the newly developed concept of “trauma culture” (Wald 1995: 95), as well as the concepts of hauntology theory (Jacques Derrida’s deconstructive spectre and Nicolas Abraham and Maria Torok’s phantom) the analysis will concentrate on such factors as: trauma/haunting resulted from child sexual abuse, the figure of the ghost as a part of double personality, the ghost as the personification of traumatic experience not only for the individual but also for the whole mankind and the way in which haunting trauma can involve the further life of the protagonist.
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The cross comparison of the works of art has always been fascinating and has led to the discovery of many interesting ideas. Although much has been written on Harold Pinter and Samuel Beckett’s works, this paper introduces a comparative outlook of two of their works. Basing its approach on content analysis, the paper compares the theme of menace in The Caretaker by Harold Pinter and Endgame by Samuel Beckett. We try to show how protagonists in both plays are afflicted by some sort of threat which is best justified by the manifestations of Pinter’s Comedy of Menace which in the end results in Beckett’s Theatre of the Absurd. One character is threatened by the nationally oriented fears of the system and the other harbingers an international atmosphere of menace hovering over the mind and soul of the protagonists at a micro level viewpoint and reflecting that of the postmodern man at a macro level one.
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This article explores the relationship between violence and art music in Anthony Burgess’s A Clockwork Orange and Stanley Kubrick’s film adaptation. Instead of focusing on differences between novel and film, the intermedial perspective of this study is on underlying similarities beyond the different media characteristics of film and literature. Both the novel and the film exploit how the somatic impact of music creates a fundamentally ambiguous relationship between violence and music. Musical choices in the novel and the film at first glance appear incongruous. However, an intermedial approach reveals a connection between the textual and audiovisual ambiguity, unknown fictive music described in the novel and the well-known music played in the film, defamiliarised lyrics and distorted sound. Thus, the novel and the film not only present the inherent violent potential of music; both works also exploit the attitudinal ambivalence created by the contiguity of music and violence. Music in violent contexts, which at first appears to distance us from violence seen, in fact pushes us towards the experience of felt ambivalence that undermines the order of things.
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This article compares the narrative representation, and more specifically the identity (de-) construction, of the main character in the novel The Handmaid’s Tale and in the first season of the eponymous series. To do so, I draw on the concepts of transmedial narratology as elaborated by Thon (2015, 2016) and Ryan (2014), that stresses that some narratological concepts originally applied to literary texts (as for example storyworlds, characters, the distinction story/discourse) are useful to analyze narrative representations in other media as well. One of the principal means in literature to represent the inner world of a character is the interior monologue. How is the interior monologue used in both the novel and the series? How does this use influence the plot in both media? And does the medium in any way determine the use of the interior monologue? Furthermore, I connect the narrative representation of the main character to the principle of remediation and demonstrate that her portrayal is inextricably linked to the medium in both series and novel.
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The guidebook is one of the most genre-defined forms of historical and educational work. Using the example of the text of the “Index of Kazan Historical Sites” by Professor S.M. Shpilevskii, the potential and importance of the guidebook for the formation of historical ideas in society was studied. Since the genre of the guidebook was new during S.M. Shpilevskii’s times, the presence or absence of the signs of a genre standard in this composition were determined. The theoretical basis of the research is the methods of structural analysis, semiotics and memory studies. Based on the results of the analysis of the text of the “Index”, the following methods were distinguished as the characteristic methods of creating the image of Kazan: selection of objects, marking them from more to less significant ones, the historical ideology of the discourse of the events and places described, the use of a certain presentation style and ideological antitheses “ours” – “foreign”. The obtained results show that it is impossible to describe Kazan in the framework of the European tradition; it appears as “its” Orient, an Orient that does not frighten. Kazan is the tamed Orient, the Orient in Western Costume, and the Tatars living in the city, despite being foreigners, are not alien.
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