Construirea identității Generației Beat
This paper pursues the evolution and the avatars of the Beat Generation raison d'être starting from the manifesto This is the Beat Generation signed by John Holmes.
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This paper pursues the evolution and the avatars of the Beat Generation raison d'être starting from the manifesto This is the Beat Generation signed by John Holmes.
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In this paper we provide an overview of some of the distinctive characteristics of the short stories of Alice Munro, winner of the 2013 Nobel Prize for Literature. Through a close reading of a number of her representative works, we attempt at highlighting the intersections between them and the tradition of the modern Gothic (in particular, the Southern Ontario Gothic), as well as the unique way in which the Canadian writer approaches the problematic of the liminal (understood as the locus where the material and spiritual are conflated) by rooting the narrative act in the fragile space delimited by “punctuating” and “shifting”.
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Identity and its different notional implications are keyleitmotifs in many Canadian literary writings as a result of Canada’s complex and distinctive historical and cultural context. Starting from Northrop Frye’s theory on garrison mentality and Margaret Atwood’s Survival, this paper explores the concept of identity and its intricate connections with storytelling in Canadian literature by focusing on particular authors in whose texts the search for an identity occupies a central position.
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The article is an analytical approach to the 2007 Gaspereau edition of the well-known Canadian posmodernist George Elliot Clarke's Trudeau: Long March / Shining Path. Considered together, the book’s explanatory texts and the verse drama / libretto convincingly (de/re)construct the Canadian premier Pierre Elliott Trudeau's personality, his rise-and-fall in a worldwide historical, political, and cultural context, viewed from different vantage points. Though Clarke's new libretto for a jazz opera in collaboration with composer D. D. Jackson bears the “mask” of a classical five-act verse drama, it is actually a hybrid, transgressing the border of genres and corresponding to Linda Hutcheon’s mode of historiographic metafiction. Part and sequel of an extensive study of cultural polyphony in Clarke’s work, the article offers the Romanian readership an insight into Canadian multiculturalism in a moment when the late Pierre Elliott Trudeau's son Justin has become Canada's premier.
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“The Diviners” is the final and sovereign piece in Laurence’s Manawaka cycle. To think of Laurence’s novel in terms of what is peculiarly Canadian about it, brings forth the idea of identity and the compulsive concern with what can be generally denominated as survival, understood both in the sense of struggle towards the preservation of the self in a world perceived if not as hostile, at least as tough and contrary to individual interests or aspirations; the continuity of the tribe, of the people, within a physical geography; and in the sense of cultural endurance, conservation of the ancestors’ arsenal of spiritual values, their moral legacy. Margaret Laurence’s novel is not exempt from the “obsessions” which haunt the Canadian collective consciousness.
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At the beginning of the Meiji Era, Japan underwent a process of extensive modernization. Preeminent writers’ works were imported and translated into Japanese to serve as models for the new society that was envisioned as the future Japan. The presence of realism, objectivism and the protagonists’ adherence to social norms were deciding factors as to whether a literary work was adopted as such or not. Jane Austen’s emphasis on behavioural codes resonates with the Japanese proclivity to adhere to strict rules of conduct. As a result, authors such as Lafcadio Hearn and Natsume Soseki will make efforts to familiarize the Japanese readership with her work. The influence of “Pride and Prejudice” will prompt Yaeko Nogami to write her liberal-minded heroine, Machiko, in Elizabeth Bennett’s image, to underline the social changes inherent to the Meiji mentality. Both female protagonists reflect proto-feminist challenges to the existing models of femininity in conservative social contexts.
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The article aims to set off the complexity of the novel’s narrative structure and its ideas showinmg that it is buil;t on the archetypal pattern of theprotagonist’s external and internal quest for identity. Morag Gunnis a forty-seven year old writer asnd mother of eifhteen-year old daughter, Pique.The primary action begins with Pique’s flight from home, a event that triggers off Morag’s retrospective her memories, which revelas to her the parrallelism between herlife’s search and that of her daughter;s , conclusion which she reaches the autumn of the same year.The author shows how through/ association with present incidentsthe primary narrative embeds events that conjure up the picture of Morag’s childhood, teen age and youth, drawing up the portrait of a Canadian woman artist.Morag realizes in retrospect that her options have determined her present identity, which the redear may see as a triple paradigm, that of modern woman,that of a postmodern artist and that of conteporary Canada.
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Though in many ways the most unusual US president ever elected, both in experience and in character, Donald Trump is not entirely sui generis. This article strives to show that in some respects he is in the American tradition, as evidenced by his continuity with some classic American literary works. Characteristics which Trump shares with the American literary tradition include religiosity; egalitarianism, and its corollaries including anti-expertise, braggadocio, self-assurance and self-reliance; insularity and xenophobia; and American exceptionalism.
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While Arundhati Roy’s first novel, The God of Small Things (1997) mostly focused on the tragic outcomes of the rigid Indian caste system and found its place in the tradition of Marquezian magic realism and Salman Rushdie’s mythical and exotic portrayal of India, her second novel offers a complex description of a divided society. The Ministry of Utmost Happiness (2017) bears the mark of Roy’s vast experience in the field of political and environmental activism, her militant approach towards social injustice. The new novel is a patchwork of narratives focused around two main characters, the transsexual Anjum and Tilo, the ever revolting architect involved in the civil war in Kashmir. In the description of both hallucinatory violence and small, gentle moments of harmony and cooperation, Roy portrays the divided, postcolonial/neocolonial India where conflicts are constantly emerging on religious, political, social and sexual levels. Borders seem impossible to cross when the conflict is thoroughly interiorised like in the case of the Delhi hijras, or has grown uncontrollable like in the civil war for Kashmir’s independence, yet they prove transgressable in the characters’ everyday practice.
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The tradition of Lughz and muʿammā in Arab poetry has an important place. Ibn al-Fāriḍ (d. 632/1235) is a divine love poet that lived in the Ayyubids period. He is an important point in the process of change and transformation of Arabic poetry language. This research aims to carry out a theoretical and anecdotal examination of the Lughzes in Ibn al-Fāriḍ’s Dīwān. The work explains, firstly, the concept of Lughz in terms of conceptual content and theoretical structure and summarizes its own method to be applied in solving and evaluating Lughzes in ten articles. The paper indicates whether the Lughzes in Dīwānhave a theoretical structure or not. In this context, it distinguishes the Lughzes from the number of layers, simple and compound structure maintenance. It examines the theoretical and functional contributions of the tahsīl, takmīl, tashīland tazyīlmethods, the stages of the establishment and the solution of the Lughzes.
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By basing the study on the analysis of the main character in Leonard Chang’s social novel, which is clearly inspired from a real event that occurred during the Los Angeles riots, the present paper offers a unique research into the struggles, both internal and external, a second generation Korean American faces when reconciling his identity as an American citizen and as a person of Korean descent. Moreover, the paper also underlines that the main character tries to adapt to the American way of life by using each of the four types of strategies of acculturation, as defined by Berry (2005), at one time, but ends up losing all identity through the deculturational process due to the fact that he cannot assimilate both cultures or accept at least one of them.The research will also focus on the image created by a second character that depicts America as a dystopian land in which the majority of people are thieves, burglars and drug addictives. Furthermore, the life of Mr. Rhee’s daughter will also be analysed, as well as the way in which she becomes American or Asian American. Lastly, the paper will underline the stressful relationship between Asian Americans and African Americans, and how Asian Americans usually discriminate against African Americans, action that lead to protests and violence in 1991 and 1992.
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The Danish writer Jens Peter Jacobsen (1847–1885) is generally considered to be a realist and naturalist as a member of “The Modern Breakthrough” initiated by Georg Brandes in 1871. But when introduced in Central Europe at the end of the 1890’ies, he was considered a forerunner and inspirator for a whole generation of svmbolist and secessionist writers, painters, and composers from the turn of the century (Rilke, Hofmannstal, George, Zweig, Arnold Schönberg). The left wing Croation writer Miroslav Krleža’s view on Jacobsen, with whom he became acquainted through the Central European reception, was generally negative. In his essays from the 1920’ies and 1930’ies, Jacobsen is generally viewed as a decadent l’art pour l’art writer. Nevertheless, in Krleža’s novel, Povratak Filipa Latinovicza, from 1932 two passages are intertextually connected with two passages in Jacobsen’s novel Niels Lyhne from 1880. The first passage shows a mutual view on the genesis and inspiration of art. The second passage, the two boys’ encounter with Eros, shows a striking difference. The dreamlike scene from Niels Lyhne is heavily contrasted with the corresponding brothel-scene in Povratak Filipa Latinovicza.
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The Man'yōshū anthology, the oldest extant written source of Japanese, contains poems of written/ oral traditions (4th-8th centuries). The aim of this study is to bring a new method for the analysis of Man'yōshū poems by focusing on the possibilities of the analysis method of Genetic Structuralism, a sociology of literature and art. From this point of view, anthology’s first poem by Emperor Yūryaku, has been analyzed by Genetic Structuralist method (understanding/ explanation phases). The research has revealed the significant structures and the world view in the work which also helped to explain why this work was chosen as the first poem of the anthology. As a result, the method by examining all aspects within the text and social structures around itprovides a scientific, integrated approach for Man'yōshū researches. Consequently, this research introduces a new approach for Man'yōshū studies in Turkey and in the world.
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Suzanne Collins’ novel The Hunger Games has as its central metaphor themonomythic journey of the hero. This research focuses on the novelist’s attempt toredefine the monomyth in terms of gender, and on the ways in which Collins’s retoldversion represents human experience in the contemporary world. This study presentsCollins’s protagonist, Katniss, who embarks on the traditional heroic quest andconfronts multiple challenges and frustrations on her journey to success. During herheroic enterprise, Katniss turns inward, discovers and embraces her feminine natureand seeks a satisfactory life paradigm as a result of which she attains the innerintegration and reconciliation of both masculine and feminine aspects of herpersonality; she also understands and accomplishes her purpose in life. By recognizingthe mythical and archetypal situations, which are subverted or inverted in the novel,Collins revises the significance of private and public achievements in thecontemporary community
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Due to humanity’s proclivity to mourn their dead, it is only natural that poetry of grief, such as elegy, proved to be one of the most resilient modes of poetic expression. During its long history, elegy has undergone numerous modifications, reflecting changes in both society and poetry. As it is more and more difficult to find solace either in nature or religion, contemporary elegists struggle with the expression of grief, often turning to irony or humour. Gender, too, plays an important role in the construction of mourning poetry, with the masculine elegy focusing on poetic competition and emotional substitution, and the feminine elegy relying upon connection and the process of recuperation instead. The paper analyses “Missing You”, a long poem from Penelope Shuttle’s collection Redgrove’s Wife (2006), investigating its status as a contemporary feminine elegy.
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U ovom radu se razmatra poetika prvih dela Elija Paljaranija, italijanskog pesnika, koji je bio jedan od najvažnijih na italijanskoj književnoj sceni tokom druge polovine dvadesetog veka. Paljarani pripada liniji, koja se može definisati kao „Lombarda” i koja potiče direktno iz XIX veka, kada su regija Lombardija i njen glavni grad Milano bili veoma važni za širenje ideja Prosvetiteljstva. Dela Elija Paljaranija su analiza i kritika italijanskog društva, koje se posle rata uputilo ka materijalnom blagostanju, vezanom sa ekonomski „Boom” šezdesetih godina. Paljarani, isto kao i drugi italijanski pesnik, pisac i režiser, PjerPaolo Pazolini, predvideo je antropološku mutaciju italijanskog naroda, koji je odjednom zaboravio svoju seljačku kulturu i postao gradski, zapadni i buržoaski narod, orijentisan samo ka materijalnom blagostanju. Paljarani je izmislio i novu formu za svoju poeziju, formu koja renovira klasičnu poeziju i koja je u skladu sa burnim promenima italijanskog društva. Zbog toga se on priključio neoavangardističkom književnom pokretu, koji se rodio 1963. god.
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The paper provides the results of a literary and cultural study focused on the importance of popular music in shaping and defining the identity of Holden Caulfield, the protagonist of J. D. Salinger’s novel The Catcher in the Rye, as well as on his relationship with the dominant culture of the world he inhabits. Particular attention is paid to the formation and expression of Holden’s rebellious character, as observed through his relationship towards different manifestations of popular music in the novel. These include excerpts from musicals, compositions from dance halls, and the imaginary song entitled “Little Shirley Beans”. This song provides a representative example of the adoption described by Hebdidge (1979). This process, which Hebdidge describes in Subculture: the Meaning of Style, suggests the transformation of a style from popular culture into a subcultural style. Holden strives towards such adoption in all his contacts with elements of popular music, which announces the social and cultural rebellion that would stem from rock and roll music and rock culture several years after the publication of The Catcher in the Rye. The anticipatory capability of Salinger’s prose has proven to be a valid source for examining the mechanisms at work behind the influence of popular culture.
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This article interrogates the Cartesian understanding of time and space in narratives grounded in memorial endeavors. It focuses on the lines that define the interconnectedness between these two dimensions in relation to the introduction of the phenomenological category of memory as a third element providing a perspective on reality and blurring the borders between present and past; here and there. This composite, operative category is tested in the analysis of Richard McGuire’s graphic narrative „Here” (2014) that, both on the level of the format and on that of the story, outlines the porosity and the ultimate disappearance of the spatiotemporal borders by means of memories. This work conceives of a historical simultaneity that soaks a particular space in its past and of the margins of contingency that separate what pertains to History, what to individual stories and what gets forgotten instead—a representation which is studied against the background of Gilles Deleuze and Felix Guattari’s speculations on memory in „A Thousand Plateaus”.
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This paper deals with the question of historiographic metafiction in The French Lieutenant’s Woman. The novel was published in 1969 and has since been considered as one of the most important works of British postmodernism, primarily because of the literary technique of metafiction that the author uses in his novel, but also because of the presence of a specific type of metafiction that deals with the treatment of past and historiography, or historiographic metafiction. Historiographic metafiction starts with the premise that it is impossible to fully grasp the past from the present perspective, so the goal of the novel of this genre is to question the recorded historical facts, the great historical stories, and the way they are presented in literature. In this paper we will research and give an overview of all the techniques that Fowles uses in order to achieve this goal.
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Reviews of: 1. Osam planina, Paolo Cognetti 2. Melanholija porodice Crusich, Gianfranco Calligarich 3. Najvoljenija, Teresa Ciabatti 4. Društvo lažnih duša, Wanda Marasco
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