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‘Her Room Was Her World’: Nellie Sloggett and North Cornish Folklore

Author(s): Simon Young / Language(s): English / Issue: 2/2017

Nellie Sloggett (1850–1923) was a Cornish novelist and, under the name Enys Tregarthen, a folklore writer. This article* has four aims. First, to bring together all the biographical information about Sloggett. Second, to make the point that Sloggett’s writing is useful for folklorists: she has, since her death, been neglected even by south-western scholars. Third, to situate her work in the broader British and Irish folklore movement: her corpus offers some unique challenges. And, fourth, to provide a hand-list of her books and her other writings to facilitate further research. It is hoped, too, that some of the reflections on the geography of folklore collection will have a wider application.

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‘Zones of Discomfort’ in US Latino Politics: When Sharing a Sea Does Not Suffice

Author(s): Virginia R. Dominguez / Language(s): English / Issue: 2/2014

What is a U.S. Latino and what does US Latino politics look like? Moreover, what does space, location, and travel over sea, land, and air have to do with U.S. Latino life and politics? Over the years many people have come to anticipate certain things as characteristic of the Latino presence in the US (either from media coverage or political analysis). Many concentrate on the large population of at least partial Mexican family origin. But what happens when different questions are asked and different locations are privileged? In this paper, I look at the southeast coast of the U.S. and not the central, western, or southwestern parts of the country, and I examine expectations of who lives in Florida, what their relation to ‘the US’. is, and what their sense of diaspora and nationness are. Typical and long-standing associations placing Cubans in southern Florida and Puerto Ricans in the New York metropolitan area are shown here to be more problematic than expected. This paper will show (a) that a noteworthy difference still exists between Puerto Rican and Cuban-American engagement with the US but that it is full of paradoxes, (b) that much of the difference concerns racialization, and (c) that it may be most productive now and in the future to concentrate on the surprises, what I have elsewhere (Dominguez, American Anthropologist, September 2012) recently called the ‘zones of discomfort’, rather than our ‘comfort zones’ as students, scholars, and academics. Among the most provocative points made reframing the issue will be the idea that the Cuban diaspora has made more Cubans into Americans than the 1917 Act made Puerto Ricans Americans.

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“2 hours priceless talk” – on the Friendship between Katherine Mansfield and Virginia Woolf

Author(s): Mirosława Kubasiewicz / Language(s): English / Issue: 6/2018

In spite of all the differences between Katherine Mansfield and Virginia Woolf, their biographers and critics underline a strong affinity between the two writers. What brought Mansfield and Woolf together was their passion for writing, their desire to become professional writers and to find a new voice that could genuinely express their female experience. Having a partner to discuss and share ideas on new ways of writing was of immense importance to each of them and had direct creative consequences for their work. In the light of existing evidence it comes as a surprise that opinions of Woolf and Mansfield as bitter rivals, and of Woolf as Mansfield’s enemy, still persist. The aim of this essay, then, is to present their relationship, with all its vicissitudes, as a story of a professional friendship, drawing on the findings of the Woolf and Mansfield criticism and on my own reading of their letters and works.

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“4′33″”. Dźwięki ciszy

Author(s): Marcin Borchardt / Language(s): Polish / Issue: 33/2016

August 29, 1952, in Maverick Concert Hall, Woodstock: a historic event takes place. The pianist David Tudor closes and opens the piano lid three times, without touching the keyboard itself, during the premiere performance of John Cage’s new composition. This piece, called “4′33″” has been written for a “silent piano.” It is a composition that is NOT to be played! Critics and the audience find the joke poor. Today, depending on the individual point of view, “4′33″” might be interpreted in hundreds of different ways.

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“A City of Resurrections” and “a City of Nightmares”: London, Female Monstrosity, and the Weird Sublime in Arthur Machen’s “The Great God Pan”

Author(s): Jacek Mydla / Language(s): English / Publication Year: 0

As a point of departure I present the psychoanalytic interpretive strategies used to address late-Victorian, or fin-de-siecle, Gothic fictions. These strategies see in the fictions expression of the numerous anxieties that troubled Victorian at the turn of the nineteenth century. Also, one of the second-wave Gothic’s representatives, Arthur Machen’s “The Great God Pan” can be read as a fictional expression of those anxieties. The approach I propose in the main body of the article consists in seeing in Machen’s story a realisation of a new type of the sublime, called here the weird sublime. I show how Machen engages the ideas of the modern metropolis (London), the femme fatale, and of the occult to construct this type of sublimity. In particular, attention is drawn to the way in which the female element becomes fused, via the intercession of the pagan deity, with the city.

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“ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY

Author(s): Ekaterina Gurina / Language(s): English / Issue: 2/2018

The film “Anna Karenina” (2012) by Joe Wright, the script of the film by Tom Stoppard and the classical novel “Anna Karenina” by Leo Tolstoy are compared. The cultural, historical and economical aspects influencing scriptwriting are studied. The issue of whether it is possible to call a screenwriter a writer in the full sense of the word is under consideration. The final result of screenwriters and film directors’ cooperation in the process of film production is examined. The theory of script writing and different character classifications are discussed. Konstantin Levin’s peculiar function of the second protagonist in the script is determined and distinguished from the one in the film.

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“Barbaric Yawp” in Dutch

Author(s): Katia Vandenborre / Language(s): English / Issue: 4/2013

The article presents two most important translations of Whitman’s line in Dutch. The first one comes from Natuurleven (“Natural life”), the selection of poems that Maurits Wagenvoort translated into Dutch in 1898; the second one was taken from the first complete edition of Leaves of Grass in Dutch which came out in 2005 under the title Grasbladen (“Leaves of Grass”). Both of them present very different interpretations of Whitman’s poetry: while the too literal and too vague translation in the collective project of Grasbladen presents a “postmodern attitude” to Whitman’s work, Wagenvoort’s translation is a subtle attempt of expressing the natural character of homosexuality and Whitman’s vision of love. The essay ends up with the new translation that Jakib Veenbaas published in 2007.

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“Barbaric Yawp” in German

Author(s): Vanessa Steinroetter / Language(s): English / Issue: 4/2013

This essay presents an overview and analysis of German-language translations of Walt Whitman’s phrase “barbaric yawp” in seven full versions of the poem “Song of Myself ” and in key biographical essays and prefaces by critics and translators in the German-speaking countries. Although the first documented mention of the phrase in the foreword to the Knortz/Rolleston translation (1889) left it untranslated in the English original, many later translators did offer up their versions of Whitman’s phrase in German, often struggling to maintain the allusions and connotations of the original. As this essay shows, Whitman’s “barbaric yawp” fascinated many of his translators and critics alike in the German-speaking countries, whether because they saw in his “barbaric” qualities a positive model to applaud and perhaps emulate or because they regarded the phrase as an apt metaphor for his unique and provocative poetic style.

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“Barbaric Yawp” in Polish

Author(s): Marta Anna Skwara / Language(s): English / Issue: 4/2013

The text examines the Polish reception of Whitman’s “barbaric yawp,” beginning with pre-translational intertextual references made by the influential Polish poet Julian Tuwim (“Poezja,” 1921). Subsequently, the version of the “barbaric yawp” line from the introduction to the selection of Whitman’s poetry (1934) as well as three “proper” translations of the line done much later are analyzed. Problems which the “yawp” causes in the Polish language are discussed against the comprehensive cultural and linguistic background, including the Polish version of the film Dead Poets Society.

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“Barbaric Yawp” in Russian

Author(s): Andrey Azov / Language(s): English / Issue: 4/2013

The essay traces the history of Kornei Chukovsky’s translation of Whitman’s “yawp” into Russian, points out the oddities of the translation and suggests a tentative explanation of Chukovsky’s word choice. It also examines the “yawp” in the Russian translation of the film Dead Poets Society.

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ІМАГОЛОГІЧНИЙ ПОТЕНЦІАЛ ОБРАЗУ БІЛОРУСА В СУЧАСНИХ СЛОВ'ЯНСЬКИХ ЛІТЕРАТУРАХ

Author(s): Olena POGREBNYAK / Language(s): Ukrainian / Issue: 1/2019

The author considers the phenomenon of the images of the Belorussian in the works of modern Slavic writers. The following structural components of its paradigm are analyzed: auto-images (images of Belorussians in Belarussian literature) and hetero-image (images of Belarussians in Polish, Czech and Ukrainian literature), their formal characteristics and inner content, modality and interaction, as well as the functional and strategic significance for the formulation of the principles of national Identity and outline of its boundaries at the time of creation (for auto-images). Taking as an example the works of Karpovich, Topol, Urban, Singaevsky, Andrukhovych and some others texts, the author shows that in the non-Belorussian writers’ works, the images of Belarus and the Belorussians have been generally stereotyped (in Ukrainian and Czech literarture) or grotesque (in Czech literature) or even stigmatized (in Polish and Czech litersture). Such images illustrate the cultural and civilization influences and fix certain typological coincidences between the corresponding literary receptions. The imagological image appears to be an extralinguistic phenomenon, a full-fledged subject of interethnic relations, the modality of which forms the scenario of such relationships and determines the role of the author as their social mediator. The article also compares the image of the Belarussian in classical and modern Belarussian literature. There are examples of postmodern ironic rethinking of Kupala autoreflections in the works of Belarussian poets of the 21st century, attempts to deconstruct stereotypical perceptions of Belarussian realities are demonstrated. There is a connection between the updating of the image of Belarus in the writings of modern Belarussian writers and the intensity of the processes of self-identification in the stream of Belarussian culture of the 21st century.

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ІТАЛЬЯНСКАЯ ТЭМА У РАМАНАХ АННЫ НАКВАСКІ “ЛІТОУСКІ ПАУСТАНЕЦ” І Я.Т. ПАПІ “ЦЯРНІСТЫМ ШЛЯХАМ”

Author(s): Hanna Hładkowa / Language(s): Belarussian / Issue: 11/2019

The article discusses Italian themes in the novels of the 19th century Polish women writers Anna Nakvaska (“Powstaniec litewski”) and Teresa Jadwiga Papi (“Po ciernistej drodze”). The author of the article highlights the key concepts of Italian culture that are found in the analyzed literary works, focuses on the specific nature of an ethnic stereotype – the Poles’ idea of the Italian nation, which is reflected in the figurative system of characters (T. J. Papi’s novel “Po ciernistej drodze”) and plots (A. Nakwaska’s novel “Powstaniec litewski”).

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Јоханес Шефлер: мистичка поезија као катализатор (пост)модерне мисли

Author(s): Alen Albin Širca / Language(s): Serbian / Issue: 20/2019

This article deals with the history of reception of the German Baroque poet Johannes Scheffler (aka Angelus Silesius, 1624-1677), which served as a significant catalyst (to use the renowned poetological term of T. S. Eliot) on a number of writers and philosophers in the 19th and 20th century. First of all, the analysis is focused on Scheffler’s impact on Jorge Luis Borges who in reading of Scheffler’s mystical epigrams attempted to find the way out of the impasse of modernist subjectivity. Next, the article investigates the reception of the distinguished German poet by three renowned 20th century philosophers: Heidegger, Derrida, and Lacan. It becomes clear that all three have creatively appropriated the verses of Johannes Scheffler, and it has turned out that the mystical paradoxes of his poetry paved the way for the articulation of some typical postmodern concepts of these philosophers. In Heidegger’s case, Scheffler’s verses on the mystical rose helps define the ungroundedness of being. In the case of Derrida, the scope of Schefflers epigrams seems very close to that of the so-called experience of deconstruction, and in case of Lacan, Schefller’s poetry is read as the most efficient meditation on being, which in opposition to un-being (the Real) marks the successful end of the psychoanalytical process.

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ЈУГОСЛAВEНСКA ВAРИЈAНТA СТAЉИНИЗМA: ГОЛИ OTOK И ГОЛИ ЖИВОТ

Author(s): Davor Beganović / Language(s): Serbian / Issue: 2/2006

With the documentary film Goli život (Bare Life), Danilo Kiš gave his contribution to the topic of the Yugoslav Gulag — the Goli Otok Island — thus rounding up his treatment of the topic of concentration camps in the 20th century. The author of this paper directs attention to the two early understandings of totalitarianism in the previous century: Hannah Arendt placed camps in the very centre of the totalitarian systems, equalizing in that respect Stalinism and fascism. Albert Camus does not opt for that equalization, since their relation to the binary opposition executioner-victim is different; in Nazism, the executioner-victor is celebrated by another executioner, and in Stalinism the victim is obliged to pay respect to his/her executioner. However, they have in common the moral nihilism. Special attention is dedicated to Camus’s short novel La Chute and to the figure Muselmann located in the last circle of hell of the concentration camp; it is a witness speaking about the impossibility of testimony.

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Џојсово промишљање о љубави без слободе и слободи без љубави у драми „Изгнаници“

Author(s): Biljana R. Vlašković Ilić / Language(s): Serbian / Issue: 12/2015

Joyce’s play Exiles (1918) is considered his least successful work, especially in comparison to the complexity of symbolism and the stream-of-consciousness technique skilfully employed by Joyce in his later novels – A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake. Exiles, however, documents two significant things: the autobiographical elements incorporated into its plot provide insight into Joyce’s complicated relationship with Nora Barnacle, whereas the play as a whole reveals the influence that Henrik Ibsen exerted over Joyce’s art. Drawing on these two aspects of the play, the paper examines the way in which James Joyce analysed the problematic relation between freedom and marriage, freedom and exile, freedom and dignity, freedom and the beauty of living. The paper favours the thesis that despite the inconsistencies of Exiles and Joyce’s inability to resolve the plot of the play, this early dramatic experiment should be regarded as the artistic work that paved the way not only towards the stream-of-consciousness technique which Joyce perfected in his subsequent works, but also towards the specific, primarily artistic perception of freedom, which is the basis for the understanding of Joyce’s celebrated novels.

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Шевченківські мотиви в малій прозі письменників-емігрантів 20–30-х років

Author(s): Iryna Zhylenko / Language(s): Ukrainian / Issue: 95/2017

The article studies images and motifs of Shevchenko based on the materials of works of another row of Ukrainian emigration writers of the 20-30ies years. Using the theory of archetypes of Jung, we identified an intermediate archetype acting on the verge between a Hero (a Savior) and a Sage, this is what Taras Shevchenko became for the Diaspora writers.Particular attention is being drawn to the genre palette of Shevchenkiana, artistic and stylistic features of the stories of the following writers are being defined: K. Polishchuk, B. Lepky, Dmytro Tyahnyhore, and Lesya Verhovynka. The Shevchenko motifs we discovered in the short fiction of the 20-30ies are usually united around the magnificent figure of Shevchenko, his portrait and his “Kobzar”. The archetypal figure of Shevchenko represents a symbol of a rebellious spirit and a national talisman for Ukrainian writers of the emigration. It is being determined that the portrait of the great son of the Ukraine serves as an icon for his people and is frightening for the others; words of the works of Shevchenko inspire heroes to fight for the liberation of the native land and act like a prayer; “Kobzar” serves as a talisman. Thus, motives of Shevchenko in the works of short fiction emphasize saving function for the characters and for their authors.As a result, it is being concluded that a dominant in all the stories and novels was both a respectful and a panegyric relationship towards the Savior of the Ukraine, Taras Shevchenko, and that his name and works became a philosophical guide that inspired artists to create Diaspora of the short fiction with patriotic content.

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Эквиваленты в рассказах о женщинах Чехова и Костолани

Author(s): Ildikó Regéczi / Language(s): Russian / Issue: 1-3/2003

We often come across thematic and formal equivalences in small narrative works of Chekhov and Kosztolányi on women’s fate. Connecting situations and actions especially characterizes these works, as well as the presentation of equivalent episodes on the basis of a similar pattern of selection. The first part of the thesis mentions novellas by Chekhov and Kosztolányi in which examples of the fore-mentioned method of editing are present and where the starting and ending points of the work emphasize this practice. A similar way of thinking can be found in the background of those novellas of Chekhov and Kosztolányi, in which equivalence appears not as an analogy, but as an opposition. The second part of the thesis discusses two novellas, one by Chekhov, the other by Kosztolányi, of remarkable content and poetic similarity. Chekhov’s Душечка (1899) and Kosztolányi’s Erzsébet (1929) are both stories that can be modelled as lines of equivalency based on the same paradigm: the wholeness of the heroine, the unity of her individuality can only be realized through another person and the efforts made towards that goal are almost comical, yet their presentation is not altogether ironic in any of the cases—the author’s perspective moves rather towards understanding and immersing. Both Chekhov and Kosztolányi set a seemingly unambiguous human deficiency to be multi-dimensional through the situational similarity and contrast in the equivalent episodes.

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ЭМАТЫУНАСЦЬ ЯК КРЫТЭРЫЙ МАСТАЦКАСЦІ У АНАЛІЗЕ ТВОРАУ МАКСІМА ТАНКА І ЯУГЕНІІ ЯНІШЧЫЦ

Author(s): Światłana Kaladka / Language(s): Belarussian / Issue: 11/2019

The aim of the paper is to demonstrate mechanisms of methodological aspects of emotivity in specific poetic works. Theoretical principles of literary emotiology as a new direction in studying poetry have been discussed and proposed. Research tools to analyze poetic works have been defined. They include such concepts as emotion, emotive, emotionality, emotivity, emotive personality, emotive devices. Short definitions of the terms, as well as their role in describing an author’s emotionality have been given. The analysis of Janiszczyc’s and Tank’s poems has revealed their emotivity and its markers. Several functions of emotive devices and their stylistic purpose as well as the ways of organizing a text in the analyzed works have been presented.

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Эстетизация малой родины в ранних произведениях Миры Лукши и Говарда Филлипса Лавкрафта

Author(s): Jelena Tarasawa / Language(s): Russian / Issue: 10/2018

The article explores the phenomenon of small homeland, its perception and presentation in Mira Luksha’s and Howard Phillips Lovecraft’s ouvre. The historical context of the region depicted in their works plays an important role in understanding problems of the past and the present, thoughts about the future and its prospects.

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Южнославянското сравнително литературознание днес – посоки и контексти.

Author(s): Ina Hristova / Language(s): English,Bulgarian / Issue: 1/2019

The article examines current trends in the development of South Slavic comparative literary studies. The discussion revolves around the reviewing of the notion of a South Slavic literary community and a unified South Slavic literary process. Interpretation focuses on the comparison of the Yugoslav and Post-Yugoslav literary contexts. Reference is made to the affiliation of South Slavic literatures to various cultural regions. The author comes to the conclusion that there is a need for a reviewing of South Slavic literatures as an open construction and a dynamic field of identities.

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