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L’immagine di Roma nella prosa di viaggio serba tra Ottocento e Novecento

Author(s): Zorana Ž. Kovačević / Language(s): Italian Issue: 20/2019

The research featured in this paper focuses on the image of Rome in the Serbian travelogue prose of the 19th and 20th centuries, published within the 1868-1972 period. Apart from works of fiction, we include accounts and articles published in periodicals as well. With a view to shedding light on one of the very significant aspects of the Serbian-Italian cultural and literary ties, in our analysis we pay attention to some almost marginalised pieces dedicated to Rome – a city that has held a prominent position among Serbian tourists in Italy since the second half of the 19th century. Furthermore, we look back on the European travelogue tradition as well, by drawing a parallel between the texts by Serbian travelogue writers featuring Rome and those provided by renowned authors, namely Goethe, Stendhal, and Gogol.

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The Survival Value of Telling Stories: “Pincher Martin” and “Life of Pi”

Author(s): Vesna Lopičić / Language(s): English Issue: 9/2014

The last two decades in literary studies have been marked by increasing interest in evolutionary theories of art involving psychology, cognitive science, biology, neurology, etc., all somehow related to Darwinism. A common conclusion of various researches is that storytelling is an adaptation that has significantly contributed to human survival as a species, making man Homo Fictus rather than Homo Sapiens. A number of reasons are given as to why people tell stories and how stories make us human. In this article, I would like to argue that telling stories indeed has a high survival value, not only because Boyd (On the Origin of Stories 2009) claims art develops creativity and encourages cooperation, or because Gottschall (The Storytelling Animal 2012) believes we need to make sense of the world and satisfy our hunger for meaning by imposing patterns, but also because storytelling can be a survival technique. In this sense, the fi ctional Shahrazad offers an option to existentially threatened individuals. The possible survival value of telling stories will be illustrated by the characters from the novels of William Golding and Yann Martel who employ the same defensive mechanism of storytelling to different effect.

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ქალური ენისა და თვითგამოხატვის პრომლემები ინგებორგ ბახმანისა და ლია სტურუას პოეტურ ტექსტებში

Author(s): Salome Pataridze / Language(s): Georgian Issue: 20/2/2019

Feminist theories mainly take the initial from the idea that there exists an established identity expressing the category of “woman”. The identity shall create the subject that may be politically and historically represented. The concept “representation” has two functions in this case: on the one hand it gives more public visibility and legitimacy to the woman as a subject, and on the other hand, the representation is considered to be a normative function of the language either revealing or distorting the category of woman. Feminist theories/literary studies often see the creation of such language as the main need for the full and adequate representation achieving the public visibility of women (establishment as the subject). This article analyzes some lyrical works of Austrian Ingeborg Bachmann and Georgian Lia Sturua from the perspective of post-structuralism, namely, Jacques Derrida’s concept of written language and its binary nature, Lacan’s denial of the Woman’s existence and the subject’s shift to the symbolic order, also Julia Kristeva’s, Luce Irigaray’s, Hélène Cixous’ ideas on problems of feminine language and self-representation in the patriarchal/symbolic order. The analysis of poems of Ingeborg Bachmann and Lia Sturua shall highlight specific features of feminine language and challenges to the self-representation of woman.

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ფრანგული თეატრით შთაგონებული ქართული პიესები (ადაპტაცია 1880-1920 წლების ქართულ დრამატურგიაში)

Author(s): Rusudan Turnava,Nino Gagoshashvili / Language(s): Georgian Issue: 20/2/2019

In the 19th c. translation of plays by European playwrights and their inclusion in the repertoire of the Georgian theatre was regarded as one of the significant directions, as this was a useful process of mutual acquaintance and exchange of values. “Translated literature is a treasure for intellectual progress and success of every people”, – well-known Georgian publicist and literary critic Petre Umikashvili noted, – “We partake of the success of the intellect of the world, its intellectual life, we adopt its education, partake of and sympathize with its joy and pain”. The viewpoint of Ilia Chavchavadze, Akaki Tsereteli, Valerian Gunia and others Georgian writers of that period concerning translations and adapted works are in full harmony with the modern criteria, such as: the translator’s creative talent, a good command of both languages and maximum approximation of the translation with the original. According to Valerian Gunia, adaptation of other authors’ works is an even more difficult process and, in addition to the above-mentioned the qualities, the author of an adaptation “must have the knowledge of life and human beings, sense of moderation, critical mind and aesthetical taste, he must study the laws of the stage and art of drama. Adaptation of a play is the same as writing of a play; often it is easier to compose a new play than to adapt a play in a proper and artistic manner.”

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Diaspora Theatre and the Yoruba Sacred Tradition: Aimé Césaire‘s A Tempest

Author(s): Lekan Balogun / Language(s): English Issue: 7/2017

Poet and playwright, Aimé Césaire occupies a prominent place in the history of Caribbean literature generally, and postcolonial Shakespeare adaptation scholarship in particular. His adaptation of Shakespeare‘s The Tempest, entitled A Tempest, described by PeterDickinson as a ―classic of postcolonial drama,‖ has continually been examined by scholarsin light of how the play engages, and consequently exposes, Shakespeare‘s text as a―foundational allegory of the experience of colonization and the expression of culturalimperialism‖ (Dickinson 2002: 194-5). Most commentators have however neglected toexplore the play‘s cultural content, while those who did merely acknowledged without detailing how, and to what extent, Césaire has deployed African rituals both incharacterisation and in the area of theatricality. This essays re-examines the text withparticular attention on the ritual aesthetics under which the political metaphor issubsumed. The paper argues that the ritual aesthetics in question derives from the Yorubaepistemology, and then links diaspora theatre and Césaire‘s dramaturgy in the play to bothThe Tragedy of King Christophe (1963) and A Season in the Congo (1967), and to the same Yoruba ritual source

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Des Lettres de la religieuse portugaise aux Nouvelles Lettres portugaises: la conquête de la solitude à l'aube de l'âge moderne et son palimpseste féministe

Author(s): Ewa ŁUKASZYK / Language(s): English,French Issue: 1/2020

The intertextual relation between Letters of a Portuguese Nun attributed to Guilleragues and New Portuguese Letters written by Maria Isabel Barreno, Maria Velho da Costa and Maria Teresa Horta is being analysed as an adaptation to the changing cultural conditions of the epoch. In the 17th-century version, the female figure goes through a process of egotistic revitalisation. The disaster of a love relationship, just like the shipwreck in Hans Blumenberg’s essay, leads to a radical individualisation and the conquest of solitude, a process that characterises the dawn of modern age. On the contrary, the adaptation of the same literary figure by the Portuguese feminist writers appears as a reaction against the solitude of women at the end of modernity. It is rather a “we” that is revitalised through a novel ‘couple experience’ or a community inhabiting a utopian “house of females”.

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The Main Principles of the Terminology Work of Old Georgian Translators in the 10th–11th Centuries

Author(s): Lia Karosanidze / Language(s): English Issue: 26/2019

The Georgian terminology work has its own long history but it has not been yet studied thoroughly. The basic principles of the Old terminology work followed by the medieval scholars, namely: deep and thorough knowledge of the main notion denoted by a term to render it properly; avoid the norms which are not natural for the Georgian language; try to learn thoroughly the structures of both languages and make them closer, to determine the rules which those languages follow, find right correspondences and not to make mechanical calques; create the Georgian terms with Georgian roots and Georgian derivative means; give precise and trustful definitions. The theories of the old Georgian translators are actual and important up today.

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Родное и вселенское в «Мертвых душах» Н. В. Гоголя: парафрастический контекст понимания

Author(s): Ivan Esaulov / Language(s): Russian Issue: 1/2020

Based on the material of “Dead Souls”, the problem of the correlation of the “native” and the “universal” is considered. The author of the article highlights the special paraphrastic aspect of the interpretation of Russian classical literature, which includes both Western European aesthetic landmarks and the Orthodox cultural tradition, emphasizing their interweaving and mutual influence. In this aspect, the need to restore the full version of the name of Gogol’s poem is argued. The semantics of the cover of a separate edition of “Dead Souls” is analyzed. The author traces the paraphrastic context of the poem, referring to Dante’s “Divine Comedy”, which does not come down to motives, reminiscences, plot coincidences, but actualizes the unified Christian meaning of the Easter end of the earthly path, interpreted differently within the framework of Catholic and Orthodox cultural traditions. The semantics of the final Easter transformation of the “native” horizontal of Russia into the spiritual vertical of holy Russia in “Dead Souls” is revealed.

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Светата инквизиция на творчеството: романът „Дон Кихот“ на Мигел де Сервантес и филмът „Човекът, който уби Дон Кихот“ на Тери Гилиъм

Author(s): Sofiya Todorova / Language(s): Bulgarian Issue: 02/2019

This paper concerns some paradoxes of the creative process outlined in the novel Don Quixote by Miguel de Cervantes and Terry Giliam’s movie The Man Who Killed Don Quixote: driven by constructive and destructive impetuses, the author’s personality strengthens and destroys itself in a duel between the imagination and the flattings made by reality. Terry Giliam’s surrealistic film grotesque turns Cervantes’ plot into a mythical text of self-construction as an everlasting tilt at windmills of time and obsessive extant models; a tilt at windmills of Holy Inquisition of censorship and self-censorship.

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Edebiyatımızda Kaside-i Münferice Geleneği ve Ebu Bekir Kânî'nin Manzum Kaside-i Münferice Tercümesi

Author(s): İlyas Yazar / Language(s): Turkish Issue: 01/2020

It is a poetry of praise, which is sung for a certain purpose. It is a genre that emerged in Arabic literature and passed on to Iranian and Turkish literature. It is known that some of the kasides, which have many examples in Arabic literature, form a common language of poetry in Islamic literature. One such work is XI. It is the poem named al-Kasiîdetü'l-Münferice sung by Ibn'n- Nahvî, the famous Tunisian scholar and poet who lived in the 16th century. It has been read by those who have been in distress and stenosis in the Islamic world for centuries and its reading has become a tradition. Kaside-i Münferice has many commentaries, prediction, stone and imitations in the common Islamic literature, especially in Arabic, Iranian and Turkish. One of the verse translations of Kaside-i Münferice is XVIII. It belongs to Abu Bakr Kâm, one of the 18th century poets. In this study, the translation of Abu Bakr Kânî's verse Kaside-i Münferice is emphasized on the basis of literary tradition formed on the axis of Münferice.

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Climate Change: An Apocalypse for Urban Space? An Ecocritical Reading of “Venice Drowned” and “The Tamarisk Hunter”

Author(s): Özlem Akyol / Language(s): English Issue: 101/2020

As encapsulated by eco-conscious author Margaret Atwood, climate change has an unprecedented effect on human life. Throughout history human beings have adapted to numerous climatic changes by complying with the available sources of food, housing, clothing, water or warmth. Today, however, climate change creates more devastating and instant consequences that populations and the ecosystem cannot cope with. The situation seems to have become too compelling to ignore so many authors feel an urge to warn people by transforming graphs and scientific data into emotion and experience in their narratives. At this point, “climate fiction” commonly known as “cli-fi” emerges as a new category engaging global and local effects of the global warming with literature. Despite the fact that cli-fi was not officially coined until the late 2000’s, many authors have been writing about climate change for years now. In this sense, “Venice Drowned” (1981) and “The Tamarisk Hunter” which was published 25 years later are the best examples to illustrate how deep-rooted and long-standing environmental issue climate change is. Kim Stanley Robinson and Paolo Bacigalupi have produced a great deal of works relating to not only the physical destruction of climate change to the Earth but also its long-term effects on our social and economic structures. Accordingly, the stories both set in urban space skillfully exemplify the social, political and economic effects of climate change. So far, a great amount of cli-fi texts have been produced and literary critics have also responded to this trend with an increased quantity of analyses in the context of eco-criticism. In this paper “Venice Drowned” by Kim Stanley Robinson and “The Tamarisk Hunter” by Paolo Bacigalupi will be studied through the theories of ecocriticism in order to demonstrate how cli-fi texts function in providing the reader with an objective perception by elucidating the explicit and belated challenges posed by the problem of climate change.

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Michelangelo Buonarroti’nin Edebi Yönü

Author(s): Cumhur Kuzu / Language(s): Turkish Issue: 68/2020

Michelangelo is considered to be one of the top three artists of the Renaissance period. Although he insistently claims to be a sculpture, he is also a talented painter who decorated the ceiling of the Sistine Chapel with magnificent murals, an architect who devoted his seventeen years to building the Sn. Pietro Basilica in addition to many other structures. Considering the qualifications of Leonardo Da Vinci who lived in the same period, one may think the versatility of Michelangelo is no surprise in the Renaissance period with numerous other skilful artists. Michelangelo has a unique feature which makes him different from others; his interest in literature and his poems. In order to discover the inner world of Michelangelo in particular and to comprehend the hidden emotions and thoughts, which he avoids disclosing, it is very important to know the poems of the artist or the poet, to be more precise. This study focusing on the literary side of Michelangelo and his poems aims to investigate who influenced the artist’s literary style and how the artist progressed starting from his very first poems.

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“Kitabi-Dədə Qorqud” dastanının dilində keyfiyyət anlayışı ifadə edən vasitələr

Author(s): Abdulhüseynli Nərmin Allahverdi / Language(s): Azerbaijani Issue: 9/2019

The article is devoted to the analysis of means of expression of the quality concept developed by Kitabi-Dede Gorgud. Here it becomes clear that quality is expressed not only by adjectives, but also by different ways of expression. Simultaneously, the word and phrase of the qualitative composition, accessible to the language of the writing, is apparent. The author tries to prove these assumptions on the basis of examples.

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„Przysługa oddana literaturze polskiej”, czyli o związkach Katherine Mansfield z Polską

Author(s): Joanna Sobesto / Language(s): Polish Issue: 36/2018

The paper presents the Polish circulation of Katherine Mansfield’s poem To Stanislaw Wyspiański – the only piece of poetry written by Mansfield which was translated into Polish thus far. Written in 1910, the poem was translated three times: by Floryan Sobieniowski in 1910, by Beata Obertyńska in 1958 and by Zbigniew Lisowski in 1968. The analysis of contexts in which the Polish translations were created, published and republished, along with the interpretation of their paratexts, demonstrates that Polish recipients and the very translators were more interested in Wyspiański – the hero presented in the poem – than in Mansfield herself. Throughout decades, very little attention has been paid to the interpretation of the poem. Polish scholars and literary critics were interested in investigating the circumstances in which Mansfield encountered Polish culture in general and learnt about Wyspiański, the great artist from Kraków, in particular. Their convictions and beliefs can fruitfully be interpreted by the Translation History scholar as a sign of changes in the cultural and political situation in Poland. Moreover, the translators’ attitude – especially the one presented by Sobieniowski – can successfully be analyzed from the perspective of Translator Studies.

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Ailleurs plutôt que nulle part. L’image de la pologne et des polonais goyim dans les textes d’immigrés juifs d’origine polonaise et de leurs descendants en belgique francophone

Author(s): Przemysław Szczur / Language(s): French Issue: 17/2019

This paper analyses the image of Poland and gentile Poles in the texts of Jewish immigrants and their descendants in French-speaking Belgium. The centre of interest are its literary forms, as well as its historical roots. If the geographical and cultural Polish space appears alternatively as locus amoenus and locus horribilis, the inhabitants of the country are quite clearly represented as populus horribilis. Their antisemitism appears as one of their main features, although sometimes it is problematized. Jewish immigrants and their descendants distance themselves from Poland and gentile Poles. They mainly create a negative image, very different from the traditional image of Poland and Poles in Belgian literature.

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The Green Gables Utopia. On the Novel by Lucy Maud Montgomery

Author(s): Piotr Oczko / Language(s): English Issue: 41/2019

This paper deals with the issue of “utopianism” in L.M. Montgomery’s novel Anne of Green Gables (1908), a book which has been translated into Polish many times and has been shaping the worldview and mentality of Polish female readers for over a century. This utopianism is here presented in three separate approaches. Firstly, the study investigates the “translatological utopianism” of the first translation of the novel (by R. Bernstein, published in 1911), which, as a result of the linguistic and stylistic decisions of the translator, has been significantly naturalised and domesticised, as well as adapted to the multiple (genological, social, and cultural) expectations and conceptions of the Polish implied audience. Secondly, attention was drawn to the fact that Avonlea as presented in the novel is a kind of social “matriarchal utopia”, emphasising the issues of women’s solidarity, responsibility, and education, at the same time strongly referring to the Arcadian trend in utopian literature. Thirdly, it was suggested that in Moira Walley-Beckett’s film adaptation Anne of Green Gables (Anne with an E, 2017-2018), the reading “between the lines” of Montgomery’s novel and the application of the hermeneutics of suspicion by the screenwriter made the idyllic utopia of the original resemble a dystopia.

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Czy Gombrowicza czytano w Argentynie za jego życia?

Author(s): Pau Freixa Terradas / Language(s): Polish Issue: 1/2020

This article presents the Argentinian reception of the author of Trans-Atlantyk from his arrival in Buenos Aires until his death in France. The article is divided into three parts and each of them is dedicated to one of the three last decades of Witold Gombrowicz’s life. The author mentions the initial attempts of establishing relations with Argentinian writers (Jorge Luis Borges, for example, or the circle of the Sur magazine), first publication of texts as well as the collective translation of Ferdydurke in Café Rex during the 1960s, and recognizes that sometime in the 1950s Gombrowicz made peace with the fact of his literary obscurity in the land of his emigration, therefore changing his strategy of self-promotion. Only after he returned to Europe did the first signs of recognition reach him from Argentina, where the Diario argentino was just published (it was a selection of writings from Gombrowicz’s Diary for the Argentine reader).

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Epifanijne doświadczenia krajobrazu w przedwojennej poezji jidyszowej Awroma Suckewera

Author(s): Karolina Koprowska / Language(s): Polish Issue: 1/2019

This article analyses the relationship between the subject and the landscape in Avrom Sutzkever’s early poetry (primarily focusing on compositions published in the volumes Lider [Poems], from 1937, and Valdiks [Forested], from 1940). The author explores the matter of epiphanic experience of landscape – wherein the stake is the search for metaphysical sense within nature – that is a dominant feature of Sutzkever’s pre-war poetry. The way these epiphanies are depicted reveals the romantic–modernist provenance of the early poetic compositions of this Yiddish writer.

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Reconsiderando o 25 de abril: Estive em Lisboa e lembrei de você de Luiz Ruffato enquanto etnografia do submundo lisboeta

Author(s): Gabriel Borowski / Language(s): Portuguese Issue: 1/2020

The aim of this analysis of the novel Estive em Lisboa e lembrei de você (2009) by the Brazilian author Luiz Ruffato is to approach the migrant subject as an observer of the precarious reality of the immigrants in the Portuguese capital. The underworld they form is seen as one of the most ambiguous consequences of four decades of democracy in Portugal.

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Praca socjalna z dzieckiem – refleksje na podstawie książki Agresja – nowe tabu? Jespera Juula

Author(s): Dominika Beszłej / Language(s): Polish Issue: 1/2020

The main aim of this paper is to present a new approach to working with children and young people, as described in Jesper Juul’s book Aggression. A New and Dangerous Taboo? This approach consists of treating a child as a subject, following his or her needs, avoiding stigmatization and paying special attention to building a healthy self-esteem. These issues are considered mainly from the perspective of a social worker, educator, pedagogue. In order to understand the validity of Jesper Juul’s educational concept, the work places great emphasis on raising awareness of the unequal treatment of a child and its issues in relation to adults.

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