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The research deals with folklore representations of the vampire in the Serbian literature. By reconstructing the vampire motif, we shall point out the traditional elements that appear in the representative works from the beginning of the 20th to the 21st century. Examples of the transposition of this motif in the Serbian short stories are Vampir Pantelija by Danica Marković (1992), Vampirica by Božidar Kovačević (1928) and Vampirović by Ivan Pavić (2017). By analysing the motif of vampire focusing on the origins, physical characteristics, and methods of vampire destruction, the paper indicates genre conditionality of its representation and in some places divergence from the traditional image of the vampire. At the same time, the paper points out possible perspectives of interpretation in the approach to this literary motif, and the method of the study is founded on the reconstruction of the folklore template, based on the extensive corpus of folk belief and theoretical works.
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Ce travail vise à donner l’analyse des dramatis personae comme les éléments constitutifs de drame, à l’aide des concepts dramatiques modernes. Ayant choisi la pièce Le professeur Taranne (1953) de dramaturge français Arthur Adamov, nous tenons à examiner le statut et l’identité du personnage dramatique au contexte du théâtre de l’absurde et ses tendances particulières, avec un accent mis sur la problématique de la vie aliénée / la non-vie, issue du degré zéro des relations humaines – le concept représentatif de l’œuvre d’Adamov. D’ailleurs, c’est dans cette optique et avec une approche herméneutique interprétative que nous voulons éclairer le caractère dit dramatique de la pièce d’Adamov, plus particulièrement par rapport au drame traditionnel, et dans le but d’une meilleure compréhension de l’idée d’enchaînement entre la forme et le contenu.
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This paper analyses Carlos Fuentes social engagement in The Death ofArtemio Cruz, which focuses on the birth, the development path and the death ofthe Mexican Revolution. The paper relies on the same attitudes towards the socialengagement and responsibility of the prose writer held by Jean-Paul Sartre, MichelFoucault, and postmodern theorists, since The Death of Artemio Cruz is consideredto be one of the first manifestations of budding postmodernism in Latin America.We also refer to the theoretical considerations that Fuentes expresses in his proseworks and essays. We point out that Carlos Fuentes uses the body and the actions(bribery, speculation, oppression of the Indian people) of the former revolutionary,Artemio Cruz, to bring to light the recurring political patterns of behavior, and toprove that, in accordance with Foucault s conception, the body is the mirror of thestate. Through the aforementioned elements we also analyse the manifestations of thefailure of revolutionary ideals, striving to shed light on the appeal that Fuentes makesto his readers in order to point out the necessity of (political) engagement, which isa prerequisite for the survival of the revolution itself. Therefore, it is important tohighlight that the death of Artemio Cruz does not necessarily mean the death of therevolution or the state, but the possibility of its regeneration, which can be achievedthrough the engagement of each individual.
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The aim of this research is to point out the ethical and aesthetic values presented in the trilogy Savage Acts by Ramón María del Valle-Inclán. Moreover, the thoughts on which the aesthetic symbolism is based, such as esoteric doctrines, 19th century philosophy as well as religious ethics, are addressed. Additionally, the aesthetics in its aspects of archetype, myth, chronotopе, and the Decadent Movement is reviewed through relevant examples. The uniqueness of the trilogy can be perceived not only in the corpus of the author, but also on the wider scale of dramatic literary tradition. Starting from the fact that these dramas represent an isolated case of the Spanish symbolism, it is proved that they simultaneously represent the first example of the avant-garde in the Spanish literature, as well as an announcement of some of the great European movements in the aesthetics of theatre.
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The paper traces the evolution of the funeral and memorial rites of Belarusians in the XX –early XXI centuries on the basis of the materials of the Belarusian Podviniye. The research data is folklore and ethnographic materials, some information was recorded by the author.The research shows the dynamics, reveals the main change direction of funeral and memorial rites, and characterizes its state. The contemporary funeral andmemorial rites include traditional and new elements, which are revealedanddescribed in the article.
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This articlepresents analysis of Russian-language folkloresongsof Udorsky Komi. The texts where recorded on the territory of the Udorsky district of Komi Republicin 1988–1999and stored in Folklore archive of the Syktyvkar State University of Pitirim Sorokin. The archive containsin total 24 plots recorded in 63 variants, the repertoire includesround dance songs, dance tunes and pripevka(short songs).Mezen and Pinezhyehad big influence on formation of song traditionof Udora. Udorsky ethno-regional tradition contains both popular and rare Russian folk lyrics. The comparison with song texts from the Russian North shows high degree of their similarity (actually –identity). In the same time,udorsky variants of Russian songs have interesting contaminations of motives, whichappeared as a result of long functioning in Komiculture. However, the influence of the Komi tradition is not manifested at the language level: almost all folkloresongs were performed and recordedwithout significant language distortionsand adaptations
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In this article, I seek to present a “metaphorology” of the shipwreck through a literary example. As Hans Blumenberg has noted, the shipwreck has served as a metaphor for the contingency of human existence in Western culture. Building on Blumenberg’s ideas, I argue that modernity heightens contingency and destroys the possibility of a coherent, anthropocentric discourse. For Quentin Meillassoux, the modern outlook exposes the contingency and inhumanity of reality. Building on Meillassoux and Blumenberg’s work, I address ideas pertaining to contingency and the metaphor of modernity-as-shipwreck by engaging with Dan Simmons’ historical novel, The Terror (2007), based on events surrounding the failed Franklin Expedition of 1845-48. The sinister, frozen wastelands of the Arctic figure as the limit of both European humanity and rationality. In Simmons’ novel, the traumatic encounter with cultural otherness conjures up visions of an implosion of colonial ambitions, as the crew members are gradually consumed by both the harsh environment and the ancient Inuit ice demon Tuunbaq and must confront the indifferent frozen wastes of a mythological, gothic North. Simmons’ gothic North Pole constitutes an example of “extro-science fiction,” situated beyond the limits of all knowledge.
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The paper treats the problem of so-called „consumption of identity“ (Anne-Marie Thiesse), being based on material from the National Museum „Hristo Botev“ in Kalofer. Visitors’ impressions, taken from impressions’ books of the museum from 1945 to 2017, are considered. Particular attention is paid on the problem how the political context was influential on the tourists’ mentality, and how deep was the match between ideological change and peoples’ viewpoints as reflected in the comments by them. A considerable part of visitors’ texts, left by people with various social profiles, are dedicated to reproducing the history and literary history narrative about Hristo Botev in its most canonical version. There are also notes, deliberately distanced from the canon. Most of them thematize problems like how the national hero and his attributes were exposed, whether they were displayed properly and how the exposition was matchable to ordinary peoples’ expectations, inspired by popular nationalism mainly. There are written impressions, focused on museum facilities like toilet maintenance and hygiene.The way visitors reflect the mission of the museum as education institution and how it operates on that level is also analyzed. The slowly advancing consumerism in background mode is also included with its heuristic potentials.
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The question of the authorship of the literary corpus preserved under the name of Byzantine Emperor Constantine VII. Porphyrogenitus (913-959) has preoccupied scholars for more than a century. Uncertainty in the emperor's authorship arose for the most part due to the multitude of style levels of his writings, which in recent research has resulted in a disputation of the authorship of Porphyrogenitus involving most of the works attributed to him. This paper deals with the stylistic features of those parts of the Corpus Constantineum in which, according to experts, Porphyrogenitus had his own creative share. The results show that Constantine wrote using approximately six different style levels, and that the appearance of different stylistic expressions was conditioned by the literary genre, the subject matter and the circumstances addressed by the work in question. The common stylistic features present in the segments of the emperor's writings covered in this paper point to the fact that, in this case, it is possible that they were written by the same author, one who varied his writing style.
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This article considers Witold Gombrowicz’s Diary in relation to his work as a playwright. The author’s unique and paradoxical relationship to theater in his lifetime is critically discussed alongside his significance as Poland’s most frequently produced playwright abroad, in particular through his play Ivona, Princess of Burgundia. The performative nature of Gombrowicz’s Diary is explored, along with the author’s creation of a persona in and around the work. The combination of Gombrowicz’s specific tragic vision in the Diary and his play The Marriage is contrasted with his embrace of lightness as a key artistic principle.
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