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Kendi hikâyesinin peşinde koşan herkes, hikâyesine etkide bulunan ve varoluşunda derin izler bırakmış olayların izini sürer. Hayatın, fark edilen bir ömür olması, böylesi bir dikkatin sonucudur. Sorun şu ki iz süren ve kovalanan, dikkat sahibi insanın kendisidir. Bir insan teki özelinde gerçekleşen bu rol değişimleri, belirli bir anlama sürecinin sonucunda daha derin anlamlarla buluşur.
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This paper analyzes the iconic representation of a notebook in Twain’s Innocents Abroad to demonstrate that the mise en abyme, supposed to express the author’s experience of an echo, is actually part of a lowbrow aesthetic scheme that builds within the persona’s famed travelogues.
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I should perhaps begin where the story itself began for me. It is worth a line or two, not so much for my sake as for the sake of Miklós Bánffy. Or to be more precise, for the sake of his novel and its reception, past and future, which is a modest testimony to the wisdom and truth of the late Roman saying according to which every book has its own destiny. We know the fate of the author. He met his tragic end in 1950 in Budapest, impoverished, far from his Transylvanian homeland, stripped of his properties, his treasures of art, and his reputation. For decades his literary work was suppressed by the system, for a count with a name well-known in the history of the region clearly had no place in the brave new world of “socialist culture” (as if descent were a decisive criterion in the arts).
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When people start working with fairy tales in individual therapy or groups, they know very little about the tale itself – or indeed, about the relationship existing between them and the fairy tale. They only see a story which may attract or repel them with elemental force, but they are unable to say why. Perhaps it is because they recognise themselves in the fairy tale’s protagonist. Or perhaps the conflict between the characters is about something familiar to their own situation. Or maybe, the hero’s or heroine’s adversary reminds them of their own enemy. Why do they feel as if it was not the protagonist, but in fact themselves wandering in the thick dark forest with no clearings, no sign-posts, with the only hope that someone will finally take their hand and lead them out?
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Veoma je široko i rasprostranjeno značenje pojma hikmet u turskom jeziku. Pored toga što se generalno koristi u značenju filozofi ja, značenja koja u turskom jeziku pokrivaju ovaj znak jesu mnogo šira, i nadmašuju značenje pokriveno pojmom filozofija.
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The author reflects on the theme of homosexual love in contemporary Hungarian poetry, in “Men and Friends” by András Gerevich, “There is Sweat in the Statues” by Ádám Nádasdy and “Back Seat” by János Rosmer.
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Postcolonial literature is becoming bolder in making visible previously marginalised longings for spiritual rootedness amidst social dislocation and rootlessness. The postcolonial subject’s search for spiritual belonging is shown to co-exist with the demands of late modernity, while traditional concepts of home are problematised to include home-in-faith. Based on select short stories and a novel by Leila Aboulela, this article addresses fictional representations of home and exile, of faith lost and found in the aftermath of major mass migrations to the North. It also challenges ossified perceptions of home as inescapably linked to a place of origin. I argue that, at the heart of various dislocations, there is the possibility of alternative forms of rootedness, with home-in-faith perceived as an antidote to a fractured life.
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In our classical literature known to be very common the tradition of nazire. The majority of nazire mecmua is an indication of the value given by the poets of this tradition. In this paper, Şeyh Gâlib’s perhaps the most famous poem, “Ey dil ey dil ...”, considered the place of in this tradition. Centuries ago from Şeyh Gâlib who work in the same line of this poem, Gubari and Nizamoglu’s poems comparison will be made. This poem of Şeyh Gâlib will show whether there is aring of nazire chain.
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In Never Let Me Go, those in power patrol identity by exploiting the ambiguity between humans as agents and agency. This ambiguity enables an ideology that defines some humans as tools for others’ use, and a rhetoric that overwhelms possibilities for action by those victimized.
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Video games can adjust their messages to the individual player. Based on the ancient ideal of aptum, the authors propose the principle of calibration. This new theoretical concept states that games need to adapt to the individual player in order to be most persuasive. Until Dawn exemplifies this through the element of reoccurring therapy sessions with psychological tests that serve as a hidden calibration mechanic to adjust fear stimuli to the player. The paper pursues an interdisciplinary approach that analyzes not only Until Dawn’s rhetoric, but also its depicted conduct of psychology. Therefore, the authors examine the in-game therapy with two different lenses: the first lens examines Dr. Hill’s methods as a representation of real-life treatment; while the second lens considers how mental illness is portrayed. Combining both perspectives allows to gain a better understanding of how Until Dawn creates powerful statement about psychology and the player’s character.
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This essay examines the significance of religion in Staring at the Sun (1986), A History of the World in 10 ½ Chapters (1989), England, England (1998) and Nothing to Be Frightened of (2008). The emphasis of the discussion is on the significance and purposefulness of religious belief in an overtly post-metaphysical world. In all Barnes’s texts one can trace a paradoxical conflict between two contending attitudes towards religion. On the one hand, religion is portrayed from the historical perspective as a cruel tool of oppression or is simply dismissed as an obsolete fable. On the other hand, it is perceived as a belief system which promised ultimate meaning, fought off nothingness and was necessary to sustain the illusion of a harmonious universe. Ultimately, Barnes’s attitude towards his loss of religion hovers between postmodern celebration and modernist nostalgia.
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Historically, the South has represented the past in a schema of U.S. nation-time. In the period roughly concurrent with the writing of William Faulkner (the late 1920s to 1950s) representations of the South„s pastness, as Leigh Ann Duck has argued, reflected a United States anxious both about losing certain southern cultures and anxious to move beyond them. Building on Duck‟s important theorization, this essay seeks to evaluate more contemporary positionings of the South in rhetorics of American national identity. Particularly in the wake of the election of Barack Obama, the South has once again assumed a crucial, and crucially ambivalent, position in American self-fashionings to the nation and world, once again representing the cultural borders of both “backwardness” and “progress.” Analyzing a range of historic and contemporary texts—literary, political, and pop culture—I examine tensions in temporal positionings of the South for contemporary nation-building projects, and offer some speculations about how such positioning is guiding U.S. national and international policy.
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The narrator/writer of Gail Scott’s novel My Paris (1999) finds herself in an overdetermined urban space of contemporary Paris. The space, already multiply written and rich in cultural associations, is re-worked again in the fragmented “diary,” in which the narrator both echoes and contests her literary guides, primarily Gertrude Stein’s work and Walter Benjamin’s Arcades Project. Her Paris emerges as a re-citation of the Paris inscribed in those and other texts, reconfigured from a perspective marked by temporal remove, which is stressed in the novel. Scott explores multiple, criss-crossing spaces of the city: those of architecture, culture, race, gender, nationality. While the text’s concern is to move to and fro “across comma of difference,” and to avoid binary oppositions without obliterating the all-important comma, it politicises its postmodern concerns. The article explores the postcolonial dimension of Scott’s novel, which, though not necessarily foregrounded, provides an important conceptual thread of the text. The narrator, a bilingual Québécoise, considers spaces of alterity and otherness of Paris, explicitly relating them to Canadian national experience. From this perspective the enticement and impossibility of the unitary construct of a nation symbolised by the republics of France and the United States are explored. The postcolonial reflection is closely related to the notion of a non-unitary, nomad subject that emerges from the novel.
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In the study “In two suitcases and three bundles” or Basarabia - buffer land are highlighted the main theoretical ideas related to Heidegger's concept of “open place” which became the sine qua non condition of existence. At the same time, the emphasis is on the interpretation of the correlative couple of existential significance "here-there" as a brand for locus/non-locus relationship. It is studied the impact of the phenomenon of exile on Romanian writings after 1945. The reason for interpreting the work of Paul Goma is the fact that his destiny is an emblematic case of an exile from the Romanian culture. In this context, the study of the novel describing the picture of a journey “in two suitcases and three bundles” of the uprooted and landless Basarabian, will outline the image of a split personality, undermined by the passion of writing, caught in its path crossing from a “contagious” unhappiness towards a possible “paradise” which remains always suspended. Beyond the theoretical components, the emphasis will be on the text analysis of the novel Basarabia, where, with the aid of narrative and logic of the included middle, it reveals the idea of irreversible destruction of identity. The refuge draws a parabolic path, determined by the need of unmasking, the return of the character physically absent, however present through the history to which it belongs.
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This paper analyses contemporary Spanish American novels whose plots are motivated by a private investigation into the mysteries that lead to collective memory. In the second half of the 20th Century many Latin American countries were being torn apart by civil wars, guerilla wars and dictatorships. The societies in these countries (Argentina, Chile, Bolivia and Central American countries) have not yet come to terms with their personal and collective wounds and crimes. Recent history has not yet been totally restored. The official versions of history have been distorted and the heroes of the novels analyzed here begin their private investigation of facts, which leads them to uncover not only the mysteries in the recent histories of their countries, but also the political affiliations of members of their own families. As these heroes are always somehow involved with writing, their para-detective search turns out to be a struggle about a discursively and textually formed identity, as well as a negotiation of values between the public and the private, between official historiography and the memory of individuals and their families, between the traditional and postmodern sense of patriotism. This process illustrates that in some contemporary Latin American societies, conflicts between the accepted version of history and marginalized private memory correspond to the postcolonial model of identity problems.
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“It Has Always Been This Way” is the title of a poem in Luci Tapahonso’s volume Sáanii Dahataał. The Women Are Singing (1993), in which she mentions childbirth rituals, expresses native belief in continuance and refers to the individual’s development as part of a tightly knit community. It is an appropriate quote here as it points to the all-embracing worldview that many American Indian nations cherish, including the Southwestern ones. This worldview emphasizes the circularity of space and time as well as the sense of interconnectedness between different elements in the world such as the people, the land and the stories. This study analyzes the concept of time as reflected in most significant poetry by the Pueblo writers Leslie Marmon Silko and Nora Naranjo-Morse and the Diné writers Esther Belin and Luci Tapahonso. These contemporary authors give the full measure of the Southwestern tribal identity from an inside perspective, by revisiting creation myths, rewriting history, testifying about the present and affirming permanence on the land. Recent bibliography is used to establish the distinctiveness of the voices under consideration.
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Poems: 1. “Jeszcze nie” 2. “Państwa faszystowskie 2001” 3. “Państwa faszystowskie 2017” by: Gwido Zlatkes
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“The volume compiled by Annamária Radnai can be regarded as an attempt at a new literary genre.” The review examines the conception of the volume of Chekhov’s letters compiled by the Hungarian editor as a work that results in a belletristic structure.
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