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In the article problems and syncretic poetry in two retro detective novels written by V. Karatkievich are discussed. In the era of dominance of socialist realism the author combined important ideas (defining Belarusians’ national awareness, interpreting the history of Belarus) with the elements of sensation and romantic love motif, typical of modern popular culture which are ahead of their time.
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Зна да је тог дана почела да пада киша и да је падала данима. Да је рат почео и да је Ђорђе још био у кући. Никако да дођу та поштанска кола и да му брат крене. У међувремену су стигла два писма из Француске. Отац их је мајци увече читао и она би плакала. Чуо је то из дечије собе. Ништа се није дешавало. Још увек их је осморо седало за сто и толико се дизало. Причало се мање него обично. Рат је почео, а нико у кући није о томе причао, бар не пред њим. Ни школе није било. Ђорђа су исписали још када су мислили да ће за који дан да крене на пут, у ту Француску.
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Vjenčanje Marka i Olivere i i njihova svadba, iako skromnija, izazvala je veliko zanimanje javnosti. Posebna pažnja posvećena je grupi gostiju iz Pariza. “Uvažene gospodične Anka i Stanka doputovale su u pratnji naočitog profesora Šarla H. I asistenta Žaka P., te docenta Viktora G. i dve šarmantne studentkinje, koleginice sa fakulteta. Ponosni smo što su naše mlade dame izjavile da će se nakon završetka studija vratiti u rodni Beograd i ovde započeti karijeru, na radost rodbine i prijatelja. Sa prijateljima iz Pariza održavaće kontakt u svrhu stalnog unapređivanja znanja”, zaključio je novinar svoj izvještaj.
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Čitava Europa se ubrzano razvijala i modernizovala u drugoj polovini 19.vijeka, ali bosanske kasabe su ostale izvan toga. Bosanci su nastavljali živjeti svojim mirnim životom, istim kakvim su živjeli njihovi očevi i djedovi. Jedan od rijetkih koji je bez razmišljanja odobravao upotrebu svih mogućih novotarija, bio je berberin Junuz. On je bio oduševljen svime novim, što je stizalo iz Europe, i kada god mu se ukazala prilika volio pričati o tome. Danas je u berbernici bilo življe nego inače, jer je bio pazarni dan pa su sve dućandžije i zanatlije imale mnogo više posla.
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Urban Fantasy is a problematic sub-genre as it challenges the borders between Fantasy and Fantastique/Gothic fiction. Indeed, just like the latter, it is based on the manifestations of the supernatural into our world, potentially creating a confrontation between this world and the magical one. This article examines how Charles de Lint has invented the sub-genre with his novel Moonheart and, through a close analysis of his work, aims at identifying what differentiates Fantasy from Gothic in Urban Fantasy.
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The article is devoted to the description of the mythological concept «tree». The notion of mythological concept is explained and its representation in «The Lord of the Rings» is analysed. The key grammatical and stylistic characteristics of mythological concept are given and illustrated with examples.
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The article aims to analyse the specificity of the interpretation of myth in the novels of Graham Joyce. Through the analysis of the corpus of novels, the author of the article concludes that mythological way of thinking appears most explicit at the existentially significant moments of life. Graham Joyce involves myth as to the imagining of the psychological condition as well as to modelling of the possible way outs.
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Triune function of fairy-story in fantasy (the example of the novel Ksenia Tikhomirova "The borders of vilis mountain”). The article deals with triune function of fairy-story in modern russian fantasy (the example of the novel Ksenia Tikhomirova "The borders of vilis mountain”). This triune function (“Recovery, Escape, Consolation”) was allocated and analysed by J.R.Tolkien. The main idea of the article is “Recovery, Escape, Consolation” can be allocated also in modern fantasy, but “Escape, Consolation” are realized differently in high-fantasy.
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The period of emigration of A.N. Tolstoy gives the large interest to the reunion of historical and fantastic plans in his works, which is reflected in the novel “Duke Caliostro”. Purpose of the research is concerning in the consideration of peculiarities of chronotop of this work. Its origin is considered by the use of fantastic reception uscevia, which is made by an author. It is realized in “Duke Caliostro” by the fact that in real chronotop of “unusual man” “unusual thing” is placed – resurrection of main hero`s love from dead. The main method of an action in work is an estate and way of life`s topos, in which events of present and past is live. Through the interaction of chronotop of past and inner space of main hero “motive of magic picture”, the result of this is seeing of magic rites is “materialization” from portrait of woman from world of dead. Also the fantastic way in the novel is the condition of noctambulant of person and dreaminess of main heroes, which is characterized their special inner world. Natural and sound space in “Duke Caliostro”, which has its specification for estate and way of life`s topos, has its mysterious features gradually. Images of birds, which show inner world`s characters, play a special role.
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For my exploration of the borders of fantasy, I argue that borders function as places of contact between sight, space, and narrative. Borders figure prominently in Rudyard Kipling’s Puck of Pook’s Hill (1906), and exemplify some of the ways that borders of fantasy function in literature. In Puck, visitors from the past cross temporal borders, but it is the space itself which allows the borders of time to be transgressed. With each new encounter, the children Dan and Una learn to see the textured landscape they inhabit with new eyes, connecting history and myth to the land itself. I focus particularly on sight and how the “way of seeing” the landscape requires the presence of borders. The fantastic landscape itself participates in the creation of an animated space that is simultaneously natural and more than natural, and cultural memory, as presented in stories and songs, fills that space with meaning.
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The author analyzes depictions of the Righteous in several Polish popular novels and the accompanying discourse on rescuing. She proves that in popular fiction such depictions dominate over the reckoning discourse, connected with the Polish shared responsibility for the Holocaust. Tomczok analyzes the reasons for that dominance, referring to the Philo-Semitic violence category described by Elżbieta Janicka and Tomasz Żukowski. She devotes special attention to Maja Wolny’s novel Czarne liście and the controversy over the presentation of the pogrom in Kielce, and, first and foremost, this book’s dependence on the scholarly achievements of the scholars affiliated with the Center for Holocaust Research.
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Scenes of explicit teaching make only limited appearances in the university novel since World War II. While it would be easy – if cynical – to attribute this minimization to the devaluation of teaching in the modern university, the importance of teaching and learning to sympathetic characters (and their lack of importance to corrupted figures) suggests that this lack of focus on the classroom stems from something else. Indeed, university novels tend to be fairly conservative aesthetically, and the demands of traditional narrative make extended classroom scenes difficult if not impossible to manage. Because of these narrative demands, learning and teaching take on different forms in the university novel, creating stories in which education corresponds to the struggle of teachers and students with and against administrators and buildings – stories that, therefore, resemble Leo van Lier’s observation about how remembering our own educations as stories contradicts more bureaucratic visions of learning. This observation holds true whether one considers better-known works of university fiction such as David Lodge’s Campus Trilogy, Mary McCarthy’s The Groves of Academe, and Julie Schumacher’s Dear Committee Members or lesser-known works produced by micro-presses and writers who are enabled by current technologies to publish electronically.
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This article analyzes the manner in which James Hynes’s novel The Lecturer’s Tale (2001) can be read as a satire of what Bill Readings identified in his influential The University in Ruins (1996) as the “posthistorical university.” I argue that, in the contemporary context in which higher education establishments are becoming more like corporations and the idea of culture is replaced by the “discourse of excellence,” Hynes’s novel offers an insightful discussion of universities‟ negotiation of the Scylla of the pursuit of profit and the Charybdis of selfabsorbed literary theorizing and its association with political correctness, the exploitation of junior and non-tenured faculty, and the quest for academic stardom. At the same time, I discuss the way in which the Gothic elements that permeate the novel fittingly double and deepen the critique of contemporary educational establishments and professors.
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"The Marvelous Technique" is the result of my university years. After having read quite a lot of academic writing I realized that academic criticism of the academy itself is unusual. Academics used to criticize society but who criticizes the Academy? While I was researching this particular subject I discovered a bunch of novelists (many of them also university teachers but not all) who strengthened all my suspicions: Kingsley Amis, David Lodge, Malcolm Bradbury, John Barth, Jonathan Lethem and many others. All these novelists and writers, through satire, worked as contra-hegemonic figures against the university ideal. So, after all, it wasn't the academics but fiction writers who, in one way or another, work for the university who criticize the university system.
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The review of: Higher Ed. By Tessa McWatt; Random House Canada and Scribe UK, 2015. (£14.99 paperback) Pp 304. ISBN 1925228045.
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This article treats John Steinbeck‘s cycle of stories The Pastures of Heaven as a novel, due to its close-fitting temporal, spatial and thematic structure, attempting to read into it a number of narrative techniques that best fall under the heading of stylistic concepts. One of the narrative modes that obsessively permeates the rest of Steinbeck‘s fiction as well and which may be called an acute sense of showing or—as one critic prefers—arabesque, possibly comes to him from cinematography and is counterbalanced by the overall ironic tone of the epic to achieve fictional symmetry. The narrative material is investigated for instances ranging from benevolent irony or parodic depiction to mythical or even grim irony, all infused with the humor of hearsay dissemination techniques. Some sources of irony are identified and a discussion of the rare passages when irony is dropped harmonizes the commentary.
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Kazuo Ishiguro, born in Japan and trained in England, is an instance of a writer who changed places without changing the Japanese narrative devices. In consonance with Ishiguro‘s writing techniques, Schiller‘s theory on naïve and sentimental writers suggests protocols for decoding intricate narrative devices through its insistence on writing spontaneously (the naïve writer) and on the artificial aspects of writing (sentimental writers). We will closely analyze Ishiguro‘s novel in relation to these two hypotheses with a view to showing that Japanese literature needs complex reading grids in order to have its profoundness and viability turned to good account.
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Wilson Harris, a Guyanese author, reflects in his works the Caribbean as a heterogeneous space with the mingling of Asian, European, Asian, African and ancient American cultures. Harris had spent fifteen years as surveyor before Guyana’s independence in 1966. Harris’s aim as an author was to search for an authentic language that would best reflect the relationship of the imagination to the land. The Void, according to Harris, is laid with creative potential. Harris himself suggests that “the Void is best understood as a noun, hence the capitalisation. In the same way that the creative writer is faced with otherness in the production of singularity, the Void represents the always present, unknowable state that lies outside cultural discourse and is available to consciousness as a source of originality” (qtd. in Burns 9). Harris believed in the importance of facing the past with all its suffering and pain. If one aimed at an authentic portrayal of events, this was essential. Space is not fixed and static but rather contextually contingent. Drawing on these observations, this essay aims to examine colonial space in Wilson Harris’ Black Marsden and Jonestown in the light of Doreen Massey’s conceptualisation of space.
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Faulkner’s way of writing has proven to be most often discouraging, a generating source of frustration, anxiety and even reluctance for many brilliant college students. Beyond the author’s deliberate effort to create confusion, there lie enormous reasons and substratum meaning. Had such readers possessed the necessary knowledge before starting reading his novels, they would not have gotten out of their depth. In response to such attitude, this research is meant to insure a thorough supportive guidance targeting students’ preparation as fully-fledged detectives and judges of Faulkner’s writing intentions.
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