Jõerüüdi osastav kääne
Review of: Jaak Jõerüüt. Elu lehekülgi lehitsetakse kiiresti. Novellid ja lühiromaan. Tallinn: EKSA, 2017. 239 lk.
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Review of: Jaak Jõerüüt. Elu lehekülgi lehitsetakse kiiresti. Novellid ja lühiromaan. Tallinn: EKSA, 2017. 239 lk.
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Although the Estonian novell is highly regarded in Estonian literature, the term’s implicit meaning has gradually grown less distinguishable from broader definitions associated with short stories overall. Some recent critics tend to consider the novell to be any narrative short prose, placing less emphasis on traditional genre conventions – such as punchlines, subtext, the transformative function and retroactive reading, or flashlight technique. This article uses Toomas Liiv’s theory of the classic novell to illustrate structuralist schemes of narrative counterpoint (subtext), plot dynamics, and retroactive reader phenomenology as well as to highlight the two different levels and three degrees of punchlines in an innovative way. While the black-and-white fabula may have a textually explicit surface (external verbal) punchline, below may lie its subtextually implied, deeply embedded (internal) counterpart – the actual point of the story – deductible only through retrospective rethinking. It is possible to classify an external verbal punchline according to its degree of strength (as in speech act theory): a straightforward full-punchline, a more weakly emphasized semi-punchline, and a zero-punchline, when an external punchline has been avoided. In this article, two model cases are analyzed using the principle of analogy and contrast to highlight their conceivably humanistic and ideological deep punchlines: Leo Anvelt’s close-structured novell “Raveli boolero” (Ravel’s boléro, 1983) and Jaan Kross’s more open-structured novell “Väike Vipper” (Little Vipper, 1981), both of which employ external semi-punchlines. These cases are the basis against which Estonian short stories published in the last three years (2018–2020) will be briefly analyzed in an attempt to classify them within the genre: whether they are traditional novell’s (with or without a punchline), more novell-like narratives, or other, non-novell-like short prose forms.
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This article was written with the aim of drawing attention to the chromatico-symbolic use of white color in Guy de Maupassant’s short prose, which reveals one of the writer’s recurring themes that has been the subject of numerous research work during the nineteenth century, namely madness. Guy de Maupassant’s short stories report an abundant number of “lunatics”, disconnected from reality (memory) and “sunk” into madness. Forgetting the quality of being rational is strongly impacted by a major trigger: the age. Symbolically reigned by the white color, the ol“ age pla”s the card of madness in Maupassant’s prose, illustrating characters who approach dementia at the sight of white objects or apparitions. We therefore propose to make visible the notion of “psychological-chromism” through a chromatic and symbolic analysis of this color related to Maupassantian psychologies.
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Short Prose by Szabina Farkas B. - "Bebábozott szemeink", "Szél utca", "Kendőjének négy sarkán csomó", "Sapkáimat telefújta a szél".
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Review of: Mudlum. Linnu silmad. Tallinn: Eesti Keele Sihtasutus, 2016. 180 lk.
More...Jak nově objevené a složené rukopisy mění obraz Demlova díla
This study deals with previously unknown manuscripts that the authors have identified and reassembled in an as yet unorganized section of the Jakub Deml fonds in the Museum of Czech Literature (PNP) Literary Archive. These manuscripts, fragments and variants of some seventy books and dozens of unpublished texts make a significant contribution to our understanding of the genetics and meaning of the work as a whole. They alter our idea of its genre composition, clarify information on the origin, authorship, co-authorship and addressees of the texts and testify to the complex, non-linear chronology of the work. The authors identify three periods in which Deml’s manuscripts have different functions: the first period involves manuscripts and to a limited extent publishing (1896-1911); the second period independent publishing (1912-1941); the third period is the second manuscript period (1941-1961), when manuscripts became the main medium. Subsequently the study comments on the possibilities of a critical edition of the entire work. It compares the approach of the samizdat Works of Jakub Deml and Collected Writings, touches upon the limits of the second edition brought about by the omission of a substantial part of the author's personal papers and proposes a solution in the form of a digital edition.
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Review of: 1) Jasmina Hasanspahić-Šijak, “U zagrljaju sjećanja” 2) “WHY, AS A MUSLIM, I DEFEND LIBERTY”, MUSTAFA AKYOL (Cato Institute, Washington; 2021; ISBN: 978-1-95223-17-4; broj stranica 184; engleski jezik)
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Ophélie, a student and au pair in Budapest, suddenly went missing on the night of December fourth, 2008. Her body was found three months later on the shores of Danube. Before she went missing, she left bright images in the narrator’s memories, so that this story cannot be absolutely, uniquely terrible for him.
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Review of: Eesti novell 2019. Koostanud Made Luiga, Kajar Pruul, Maia Tammjärv, Urmas Vadi. Tallinn: MTÜ Eesti Jutt, 2019. 256 lk
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The article deals with the experience of Gulag as reflected in Jaan Kross’s fiction, memoirs and letters from the camp, focusing on its fictional representation in his short stories. The article argues that Kross conveys his experience by using the conventions of the picaresque novel: a loose plot that is based on lucky coincidences and satire that is meant to criticise the power relations in the society. By comparing Kross’s representation to the canonical text about Soviet camp experience by Solzhenitsyn and Shalamov, the article shows that the picaresque key chosen by Kross is linked to his techniques of moral survival in the camp, and is therefore unable to capture the dehumanising impact of Soviet labour camps and the ethical dilemmas it posed to its inhabitants. In the second part of the article, by way of Kross’s intertextual links to German Holocaust literature, his representation is placed in the context of a wider a debate about the representation of extreme historical violence in the 20th century. In summarising a debate between Rolf Hochhuth and Theodor Adorno about the role of the individual, its agency and responsibility in the face of a violent system, the article argues that Kross’s picaresque key in his representation of Gulag is linked to his underlying humanism and the belief in the moral strength of the individual even in the grip of state terror.
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