Dimitri Verhulst, Nažalosnost stvari
The review of: Dimitri Verhulst, Nažalosnost stvari/ The Misfortunates; sa nizozemskog preveo Radovan Lučić, Buybook, Sarajevo, 2020.
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The review of: Dimitri Verhulst, Nažalosnost stvari/ The Misfortunates; sa nizozemskog preveo Radovan Lučić, Buybook, Sarajevo, 2020.
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Poem “Dom” and a short story “Razgovori o domu” written by Warsan Shire.
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Mahmoud Darwish – „Palestinski nacionalni pjesnik“, „Glas palestinskog naroda“, kulturna ikona za milione Arapa – umro je 9. avgusta 2008. godine, u 67. godini života nakon operacije srca. Kao što je rekao čovjek čije je čitanje pjesama punilo sportske stadione i čije su pjesme kroz muzičku formu postale himne širom arapskog svijeta, dobio je dostojnu državnu sahranu u Ramali, njegovom posljednjem prebivalištu, uz pohvale predsjednika Palestinske uprave Mahmuda Abbasa i tri dana nacionalne žalosti.
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Ecocritical Perspectives and Narrative Tensions in Belén Gopegui’s Snow White’s Father. The relationship between literature and ecology has come to the fore in the last few decades and has encompassed several dimensions approached within the evolving framework of ecocriticism. In this context, our purpose is twofold: to explore the possibilities of an ecocritical reading of Belén Gopegui’s novel Snow White’s Father and to highlight the way in which the characters’ uncomfortable questions, the fully-articulated answers and those still latent make up an intricate network of narrative tensions. At the core of the novel lies an all-pervading need of self-questioning and collective reassessment of values, interactions and ethical limits. Its characters are marked by doubt and hesitations regarding the reasons that make them strive for a change or defend the status quo they are fond of. Gopegui is able to perform a delicately-balanced walk on a tightrope between stern anti-capitalist principles and complex human motivations.
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Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us.
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History and Stories in the Novel Inés y la alegría. Episodios de una guerra interminable by Almudena Grande. In the past decades, a certain careless neglect seems to have gradually blurred twentieth-century historical events that are still relevant because they have not been completely clarified; they particularly concern dramatic nation-wide events which some of the long-lived Spaniards witnessed. The phenomenon is natural in a society that is advancing by huge strides towards the future, just as it is natural to have people who want to keep alive the memory of those men and women who, during the Civil War and then during the Franco dictatorship, endured the impact of such terrible convulsions. Literature, despite its availability for invention and its inherent subjectivity, is a wonderful way to save this fading image of the past. My paper aims to study the recovery work done by Almudena Grandes, who in her novel Inés or the Joy. Episodes of an Interminable War, presents an episode known as the invasion of the Aran Valley, when 4,000 guerrillas organized by the Spanish Communist Party (P.C.E.) and the Spanish National Union (U.N.E.), crossed the Pyrenees Mountains from France in October 1944. Here, the writer brings to life an abundant documentary material drawn out from archives, libraries and oral testimonies, and manages to enrich History - with capital 'H' - with small personal histories, some invented, others true; historic reality intertwines with the sinuous threads created by her fantasy in order to weave a very agitated and vivid canvas in vibrant colors.
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Political Language and Reflections on the Concept of Canon from a Transatlantic Perspective in the First Manifesto of the Movement POESÍA ANTE LA INCERTIDUMBRE. In this article I intend to examine the strengths of Panhispanic or Transatlantic Studies, which represent an appropriate line of research into and analysis of the current circumstances of literature written in Spanish, from a vantage point capable of observing the plurality of changes in the Hispanic-American poetics of twenty-first century works. First of all, I define what is traditionally understood as a literary canon and outline the theoretical support on which I rely to argue my point of view. Secondly, I add the notes of the critics who propose a Transatlantic literary analysis, that is, the ideas of Panhispanism, as a way of analyzing current poetic productions, which I exemplify with the Poetry Facing Uncertainty movement.
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Women’s Monastic Writing within the Portuguese Baroque Canon. This article aims to approach Portuguese female monastic literature of the seventeenth and eighteenth centuries in terms of its relationship with the Baroque literary canon. Shaped at the border that separates voice and silence, the visible and the spiritual universe, the cult of moderation and the desire to assert, this literature outlined a new type of discourse, which hinted at the intense conflict between suppression and authority, which, in turn, gave rise to a permanent dialogue between the feminine ethos, the controversial character of the Baroque and the always oscillating essence of the canon. We will show, that, during the last centuries, the works of some famous female writers, such as Sóror Maria do Céu, Sóror Violante do Céu and Sóror Madalena da Glória, or of other female authors who remained in the shadows, have been differently and unequally absorbed by literary critics and historians and by great anthologists. Their writings have not ceased to be represented as preferential places of dispute, of the uninterrupted dialogue between silence and affirmation, between center and margin, which generally regulates the literary canon.
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The Art Exhibition as a Novel by Enrique Vila-Matas. I set out to analyze, using the New Rhetoric methods, the book entitled Cabinet d`amateur, an oblique novel published by the contemporary Spanish writer Enrique Vila-Matas in 2019, at the same time as the opening of an exhibition whose curator he was in the Whitechapel Gallery in east London. Choosing the six visual art works, different in nature, concept, and aesthetics, from the collection of the “laCaixa” Foundation represents an occasion for the writer, led by curiosity, to investigate the works of art and to make a personal, purely subjective selection, on which he reflects in his heterogenic work as a genre: the catalogue of an exhibition, memoirs, essay (auto)biography, the skeleton of an oblique novel of the future. The selected works of art (I.G., the mysterious portrait of a woman by the painter Gerhard Richter; an installation, Petite, by Dominique Gonzalez-Foerster; a videoclip, La lección respiratoria, belonging to the artist Dora García; Milonga, Carlos Pazos’s self-portrait; a detailed scenery, Une poignée de terre, by Miquel Barceló and a photography of Theban by Andreas Gursky, in an overlap of an aerial view with one detailed figure) are included in the text as a starting point for meditations and reflections upon the nature of the art in general, because the metaphor of the literary work, the novel of the future, is precisely the building of Rem Koolhass, the library in Seattle, in which different styles overlap and whose shapes are imprecise, undetermined, incongruent, disharmonic and lacking in logic. Literature, visual arts, music, and architecture are associated, and different figures are used to point out the aesthetic of the negative and the idea that form and content are interchangeable.
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Essa Dama Bate Bué and the Angolan Literary Canon. A relevant topic for the history of literature, the literary canon has been widely questioned and the Angolan literary canon is no exception, being constantly susceptible to changes. The current paper aims at challenging the Angolan literary canon and defending the necessity of including the novel Essa Dama Bate Bué by Yara Monteiro. Published in 2018, it represents an example of silenced literature about women and guerrilla movements during the war for national independence, the subsequent civil war, and the post-conflict period. The book problematizes the presence of women in national wars, the countless roles they played, but also their integration in the post-colonial society, giving insights into a topic largely ignored in Angolan literature.
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This article is an attempt at deconstructing the chronopolitics inherent to the (post)colonial way of thinking about the world. As it is argued, what should replace it is a vision of multiple, overlying temporalities and forms of time awareness, reaching deeper than a literary history reduced to the cycle of colonisation – decolonisation – postcolonial becoming, originating from just a single maritime event: the European exploration and conquest of the world. The essay brings forth a choice of interwoven examples illustrating the variability of local time depths, associated with a plurality of origins, narrations, forms of awareness and cultivation of cultural belonging. It shows the lack of coincidence between the dominant and non-dominant perceptions of the past in such places as the archipelagos of São Tomé and Príncipe, Maldives, the Gambia, Cape Verde and Guinea-Bissau. Their ways of living the global time, as well as embodying significant texts (rather than simply preserving them) stretch far beyond the frameworks created by competing colonial empires, such as the Portuguese or the British one.
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It is said that all stories come to an end. The story of the British in India was not a common one. Kipling was part of this story and, like his countrymen, he really believed in this fantasy. This fantasy had very practical grounds and hid economic and political interests. However, this fantasy was soon to be confronted with a mirroring process involving the two cultures, the British and the Indian, whose proximity generated instances of hybridity and alterity that challenged the privileged position of the colonizers and eventually brought about the downfall of the imperial fantasy. It is true that Kipling believed in this fantasy, yet the real reason Kipling believed in and promoted was a humanitarian one.
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In recent decades, the crime fiction in its many variants and forms, has become one of the most important subgenres of contemporary literature, largely assuming the role of the social novel, which analyses the state of society and raises questions about its moral condition. It can be a literary export product, becoming a component of popular opinion and ideas concerning a country or a region (for example, the Scandinavian crime novel or the Colombian narconovela). In Spain, the crime fiction has been developing intensively since the mid- -1970s, with its first major themes being the Transición and the reckoning with the 20th century history. Over time, Barcelona, due to the work of authors such as Manuel Vázquez Montalbán or Eduardo Mendoza, has become a kind of capital of the crime fiction in Spain. This article is a reconnaissance in the world of the recent crime fiction written in Catalan, and presents its main themes, representatives and specific features. It also discusses the activities aimed at popularising and dissemination of the genre and its knowledge among the Catalan-speaking public.
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The reign of the kings of the Artashes dynasty in ancient Armenia from the beginning of the II century B.C. E. was a turning point for the country in many spheres of life, including religion. In Armenia, as in all countries of the Near and Middle East, the cults of Greek gods were widespread. Armenian historian of the 5th century Movses Khorenatsi singles out the goddess Artemis (Artemis) among all Greek gods, who, as demonstrated in the work, not only complemented the functional characteristics of the Armenian gods, but also successfully syncretized with the Armenian pantheon.
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Language ideology in forming character identity in Kyung-Sook Shin’s novel “The Court Dancer” translated by Anton Hur, 2018 is viewed in this article as an implementation of Bakhtinian principle of dialogism implemented primarily through internal dialogues of the characters. The scene of introductions at the French Legation is analysed to see the socio-political and cultural beliefs emerging from the culturally determined characters’ value systems. The article briefly overviews the issues of language ideology understanding and the assumption that the language users should be aware of the ideological effects their language is producing. Literary discourse makes use of this prerogative and provides a dialogic opportunity for the value systems from different cultures, geographies and religions to negotiate character identities.
More...Hindi Dalit Autobiographies and Their Engagements with India’s Past and Present
Life writings had time and again been used as source material for historical research both in the West and the various literary cultures of South Asia. Considering the absence and a deliberate, socially conditioned erasure of Dalit history from the mainstream narratives of Indian historiography, some scholars have introduced the notion of viewing Dalit life writings as exercises in history writing. This article explores several Dalit autobiographies as instances of engagement with the process of constructing history of Dalit communities in India. Starting from this premise, it undertakes a preliminary analysis of various narrative strategies employed in Hindi autobiographies by Dalit authors in the hope of revealing the nature of their engagements with India’s past and present. The study presented in this paper is based on four relevant examples of prose in Hindi—by Kausalya Baisantri, Sushila Takbhaure, Omprakash Valmiki, and Sheoraj Singh Bechain.
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Count Lev Nikolaevich Tolstoy is considered one of the greatest author of all times, a noted writer during the period known as the Golden Age of Russian literature, which began in 1820 with Pushkin’s first poetic works and ended in 1880 with Dostoevsky’s last writings. He received multiple nominations for the Nobel Prize in Literature and multiple nominations for the Nobel Peace Prize. His religious, philosophical and aesthetic beliefs and ideas taught throughout his life in his works are reunited and known as Tolstoyism. The times in which he lived were strongly imprinted in the psychic structure of the author and implicitly in his works which are not only results of objective observation but also transmit their own experiences through the multitude of situations present in his writings and lived personally by him, through characters inspired by members of his family or notoriety in social interaction. Deeply affected by the tragedy of the lower class, in the last period of his life, Tolstoy experiences a strong moral crisis, which makes him give up wealth, alienate himself from the Orthodox Church, approach the lives of many, seek the meaning of existence in the love of people and despite the repressive measures taken by the tsarist authorities, to protest in writing against abuses and to demand reforms to improve the lot of the oppressed. The appearance of the novel „Resurrection”, an extremely suggestive title in emphasizing the moral regeneration of the writer, integrity and freedom of conscience, is pure dynamite in the Orthodox Church which will also sign his excommunication.
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The right to freedom of conscience and religious freedom are intended to defend and guarantee perhaps the most private and deepest values of a person. This article describes the components of these rights from the perspective of the European Convention on Human Rights, in the context of the „Yarovaya law” or „Yarovaya package” and its effects on missionary activity in Russian society. In society and public space, religious freedom includes the act of preaching, proselytizing and spreading the faith, otherwise the freedom of conscience and religion would be meaningless.
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Mullah Mehmet Demirbaş was born in 1935 in the town of Neribê Ağan (Kuyular) in Diyarbakır's Hani district and died in 2017. Demirbaş is one of the crucial figures of Zaza literature as a writer of a (manuscript) divan. Mullah Mehmet Demirbaş’s Divan includes knowledge about history, literature, mysticism, human life, animal world, daily life and many similar subjects. One of the categories included is the four elements known as anasır-ı erbaa: earth, water, fire and air. In this study, the primary and related elements included in the divan are analyzed. First, general information about anasır-ı erbaa is given, then the related lines are analyzed. Turkish translations of the divan's with comments are also provided. In the light of this section in the Divan, the thoughts and world view of Mullah Mehmet Demirbaş has been tried to be understood.
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