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This article aims to contribute to the ongoing analysis of The Scarlet Letter as a valuable work of psychological fiction with contemporary applications, and claims that guilt, shame, and confession act as the dominant catalysts for character transformation. It first defines and differentiates between guilt and shame, the former being action-oriented with more easily explicable causes, and the latter being one of internal pressure that alters and destabilizes the self. The distinctions are then used to demonstrate how, what types, and the order in which, guilt and shame metamorphose Hawthorne’s characters, Dimmesdale, Chillingworth, and Hester Prynne. The men crumble, internalize or externalize their caustic emotions, and experience existential decay, while Hester emerges from the ignominy morally, spiritually, and psychically fortified and superior. We argue that such resilience is the result of public and private confession, an act of recalibration and stabilization, one that aligns the individual with a more honest version of the self. Parallels are then drawn between Hawthorne’s work and the writings of C. G. Jung on the value of confession, the divided self, and the shadow, to show the modernity and universality of the novel, as well as the applicability of Jungian interpretation.
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This article investigates the importance of dance and other rituals in courtship in Jane Austen’s Pride and Prejudice and Emma. It also addresses the complex socio-economic relations that come into play in wooing. It provides answers as to whether “happiness in marriage is entirely a matter of chance” (Pride and Prejudice 19) or whether “matrimony, as the origin of change” (Emma 7) is always disagreeable. I propose that in Pride and Prejudice and Emma Jane Austen uses conversations and letters to divulge her characters’ inner feelings and that dancing provides the means by which intimacy is obtained and young people are brought closer. Furthermore, I detail on how courtship proves to be a process of self-understanding. Although it observes rituals, I argue that the courtship process does not presuppose a blind acceptance of a suitor. In both Emma and Pride and Prejudice Jane Austen shows that love does not suffice as maturity and self-knowledge play an essential part in maintaining a relationship going. I argue that compatibility on an intellectual level and mutual respect are key elements meant to secure a successful marriage.
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This entry encourages the publication of contemporary Romanian prose, in issue 7-8, the two writers who publish fragments from novels in work being Viorel Marineasa, Melania Bancea and Marian Ilea.
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Tadeusz Maszewski (1920–1978) był mieszkańcem Poznania przez niemal całe swoje życie, jednak nie pokochał tego miasta. Do końca pozostał wierny swojej miłości do Wilna, Wileńszczyzny, ludzi kresów wszelkich narodowości, a wśród nich do przyjaciół z konspiracji i partyzantki. Publikowany fragment jest dokończeniem drugiej części wspomnień (patrz: „Czas Kultury” nr 9-10/1989) napisanych w formie powieści-pamiętnika w latach 60. Autor wspomnień skrywa się pod postacią Jerzego Łubnickiego.
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Niniejsze fragmenty pochodzą z powieści Isaaka Bashevisa Singera Szosza, wydanej przez Fawcett Crest, New York 1984. Jest to drugie wydanie książki, która swój pierwodruk miała w Jewish Daily Forward w 1974 roku pod tytułem Soul Expeditions. Tłumacz pragnie w tym miejscu podziękować Panu Julianowi Stryjkowskiemu za jego pomoc i dobre słowo.
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In this essay, Kazuo Ishiguro’s “Bewilderment Trilogy” is read as a series of Bildungsromane that test the limits of that genre. In these thematically unrelated novels, characters reach critical points in their lives when they are confronted with the ways in which their respective childhoods have shaped their grownup expectations and professional careers. In each, the protagonist has a successful career, whether as a musician (The Unconsoled), a detective (When We Were Orphans), or a carer (Never Let Me Go), but finds it difficult to overcome childhood trauma. Ishiguro’s treatment of childhood in these novels foregrounds the tension between individual subjectivity and the formal strictures and moral rigors of socialisation. In this respect, he comes close to modernist narratives of becoming, particularly James Joyce’s A Portrait of the Artist as a Young Man. Narrative strategies such as epiphanies and the control of distance and tropes such as boarding schools and journeys to foreign lands provide the analytical coordinates of my comparative study. While raising the customary questions of the Bildungsroman concerning socialisation and morality, I argue, Ishiguro manipulates narration very carefully in order to maintain a non-standard yet meaningful gap between his protagonists’ understanding of their lives and the reader’s.
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I identify two general approaches to the reception of Ishiguro’s novels: World Literature critics writing on cosmopolitanism exalt what I am calling Ishiguro’s “post-Japan novels” for their consideration of universal ethical dilemmas that transcend their historical moment and place; conversely, most criticism on his “Japan novels” performs problematically culture-specific exoticizing and Orientalist readings. Widely read as a detective novel about a British detective, Christopher Banks, solving the mystery of his parents’ disappearance, When We Were Orphans is in many ways Ishiguro’s most underwhelming novel. But, set in Shanghai, it is an anomaly among Ishiguro’s “post-Japan novels.” Its lackluster reception may be explained by simply acknowledging from the start that When We Were Orphans is just not a very good detective novel at all. The refusal or discomfort around doing so, this essay argues, is because the excuse of bad genre provides (like Japaneseness does for the Japan novels) precisely the convenient veil for why the novel does not work, or is not well liked. In other words, by historicizing the novel and reading it (with)in its political and historical moment, I argue that When We Were Orphans forces an exposure of the double standard and aestheticizing reading practices that critics often bring to their readings of Ishiguro’s works.
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Kazuo Ishiguro’s novel A Pale View of Hills (1982) represents both trauma and migration as continuous processes rather than finite stages in the life of Etsuko, the novel’s protagonist. This essay focuses on the ways in which trauma is narrated in the novel, arguing that in representing the protagonist’s life, Ishiguro mimics the narrative strategies used by trauma survivors. Written from the point of view of an unreliable narrator, the novel is a discontinuous narrative marked by indeterminacy and ambiguity, which “travels” from Britain to Japan and back, and which evinces biographical gaps and uncertainties that blur the boundary between Etsuko’s past and present, making it impossible for her to fully cross that boundary. The parallels between her life and the life of her friend Sachiko as well as her dubious narration, a consequence of creating a false version of traumatic events as a protective measure against their impact, serve to emphasize the incompleteness of both her migration and her story.
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This paper deals with the problems of translation / non-translation of terms that could be considered culturemes and are present in a particular way in the novels of Carmen Martín Gaite, marking typical features and aspects in the field of everyday life of an era, or common in a certain place or city. Some of these terms are loanwords, many others are not. However, they will be modified, losing their cultural characteristic, or incorporated into the target language as Hispanic loans and with footnotes where appropriate. Therefore, we find that the translation À travers les persiennes loses cultural traits which are important in the source culture, while in La chambre du fond they are usually present.
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The subject of drifting / sailing in time has been undertaken in the context of Félix J. Palma's The Map of Time (2008). The author of the novel reaches back to the nineteenth century, which is an already well-known trend of the transformation of this period. In the novel by Palma, time is the main character, whereas heroes like,Wells, Stoker, James or Queen Victoria are only pawns on the chessboard, among which the Guard of Time walks. The article illustrates the opposition of homo temporis versus homo sapiens. The two approaches to existence are thus characterized: sailing, which in the novel is equivalent to moving in time and changing the past / present / future and drifting as a passive existence.
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Vozovi su u tim krajevima išli sa zapada na istok i sa istoka na zapad... Probijajući se kroz bijelu lebdeću maglu koju su neprekidno podizali vjetrovi sa hladnih sariozeških ravnica, mašinovođama vozova koji su prolazili tih februarskih noći praćenih mećavama, trebalo je podosta napora da usred snježnih nanosa u stepi uoče omanju željezničku stanicu Boranli-Burani. Zahvaćeni kovitlajućim vijavicama, noćni vozovi su pristizali i odlazili u magli, kao u kakvom nespokojnom, uznemirujućem snoviđenju... Za takvih noći činilo se da se svijet rađa iznova iz prvobitnog haosa - studenima vlastitog daha skrivene, sariozeške stepe podsjećale su na dimni okean koji se rađao u paklenoj borbi između tame i svjetlosti...
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Džinijke nisu više dolazile u Maskat kao u davnim vremenima kako bi barem nakratko olakšale teško breme stvarnosti. To su džinijke koje lete, pretvaraju se u razne oblike i neprestano mijenjaju izgled. One bi danima i noćima zabavljale ljude različitim stvarima i pričama šta bi se sve dogodilo da njih nema. Džinijke su napustile Maskat otkad su ga obasjale električne svjetiljke i otkad su se ljudi povukli u svoje betonske nastambe gdje su zvukovi klima-uređaja i tonovi televizora nadjačali njihove glasove.
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Стипе Вилић водио је књижару „Свјетлост"у Титовој улици и био je на добром гласу као човјек који вам за неколико дана може набавити било коју књигу с краја свијета. Учинио je да та, заправо, мала књижара постане мјесто на којем су се, за столом иза пулта, састајали познати писци, и они који су то пo сваку цијену хтјели постати. Водили су се ту књижевни разговори и важна оговарања.
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Романи што тематизирају улогу филмског гледатеља у роману могу се грубо подијелити у двије групе, и то романе који се изричито односе на одређене стварно постојеће филмове, користећи се при том експлиците назнакама наслова филмова, именима глумаца или редатеља, и оне што утичу на филмско искуство и знање читатеља својом изравном релацијом према стварности изван романа. Импликације овог умјетничког поступка су очигледне: аутор се може одрећи именовања испричаног филма, или може свјесно говорити о непостојећем филму; дакле може измислити филмску причу. С овим у вези, романи се могу подијелити у двије групе: (1) у фиктивне филмове у роману са формом филмског наслова или формом испричаног филма, те (2) романи са стварно постојећим филмовима.
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