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Credo si possa esser d'accordo sul fatto che i totalitarismi restano tali finché riescono a mantenere il loro appiglio, o meglio forse dire "artiglio", appunto, totale sulle società che controllano.
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The book contains analysis of the way of presenting issues essential for the life of the Orthodox Church in the 19th-century Russia in Nikolai Leskov’s journalistic works. Writer’s literary output is discussed in its historical and social context, against the background of contemporary press discussions. It reveals a bond between his spiritual quest, the emerging modern religiosity and changes taking place in the Church. It also allows to highlight similarities and differences between Leskov and his contemporaries and to trace the evolution of the writer’s views.
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Manastirli Salih Faik was born in Manastir. He is from the Encümen-i Suara poets who lived between 1835-1899. Mr. Faik, who was born in the Manastir, later went to various cities such as Istanbul, Burdur and Gumushane due to his government duties. In addition to his duties, he was also interested in literature. He has four works. These are Aruz-i Turki, Elfiyye-i Seniyye fi’l-Adabi’l-Ahmediyye, Peymane and Divan. His works are important in terms of reflecting the religious, political, literary and social characteristics of his time. In this study, information about the life and works of Mr. Salih Faik. After we will talk about the issues that are found in his divan and which we consider remarkable. At the same time, his poems published in Hazine-i Fünun Magazine, one of the important magazines of his time, will be included.
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This essay addresses issues of periodization, with a specific focus on the importance (or overvaluation) of the reconstruction of the Polish State and its effects and consequences on contemporary Polish culture and literature: in fact, 1918 was perceived as a turning point and as an ideal boundary between an old and a new era. At the same time, different opinions about the “limits of modernity” in Polish culture and literature were discussed, emphasizing the longue durée of such cultural macrophenomena as the “romantic paradigm” or “Sarmatian” mentality and their significant impacts on the processes of continuity and discontinuity of culture. Searching for a merely literary explanation for the periodization of this first troubled period of the “short century”, the author stresses the importance of two texts by Julian Tuwim, Spring (1918) and You All, Go Kiss My Ass (1938), which feature all the euphoria of the beginning and the drama of the end of the period. The article also offers an initial attempt at an Italian translation of the Tuwimian Poem in which the author politely but firmly implores the vast hosts of his brethren to kiss his ass.
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7 Nisan 1933’de, Almanya’da, Hitler hükümetinin ırkçı yasalarından ilki olan ve Nazi yöneticilere rejim düşmanlarından, özellikle de Yahudilerden kurtulma fırsatı sunan, “devlet memurluğu mesleğinin ihyasına dair yasa” kabul ediliyordu. Ari ırktan olmadıkları için üniversitelerdeki kürsülerinden kovulan çok sayıda bilim adamının Nazi Almanya’sını terk etmek zorunda kaldığı bu 1933 yılında, hemen hemen aynı tarihlerde, kuruluşunun henüz onuncu yılındaki genç Türkiye Cumhuriyeti de bizzat Atatürk’ün öncülüğünde, kökten bir üniversite reformu gerçekleştirme çabasındaydı. Her iki ülkenin tarihindeki bu ilginç kesişme, Nazilerin kovduğu birçok akademisyenin mesleklerine Türk üniversitelerinde devam edebilmelerini sağladı.
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George Bernard Shaw (1856-1950) had Shakespeare on the brain. He returned to his literary predecessor again and again throughout his lifetime, whether in theatre reviews, his own plays or in Shakespearian-themed works which will be the focus here. Shaw coined, of course, the term ‘Bardolatry’ in order to ridicule the blind worship of everything Shakespearian, feeling it impeded the evolution of a new kind of theatre of ideas embodied by the works of Henrik Ibsen and first and foremost, Shaw himself. Shaw had a kind of love-hate relationship with his predecessor, but also an obvious chip-on-his-shoulder, which he kept returning to repeatedly. Arthur Ganz (1983, 58) in his work George Bernard Shaw hits the nail on the head: “Lacking a kind of ‘negative capability’, Shaw could not forgive Shakespeare for failing to offer a systematic, optimistic vision of human life and history, what Shaw called a religion.” Shakespeare, in other words, lacked a moral purpose and message. Having said that, Shaw was instrumental in reversing the established trend of cutting Shakespeare’s plays in performance, something which we should all be most grateful for. At times, his dismissal of Shakespeare comes across as willful if not absurd, like a boxing challenger calling out the champion in order to increase the hype; this being incidentally precisely the theme of Shaw’s final work Shakes vs. Shav. Michael Holroyd (1988, 360) quotes the subject of his three volume biography on the issue as follows: “With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his.” His bark is worse than his bite, thankfully, and the works examined herein all display an obvious pleasure in both the topic, the language and the imagined man. Charles A. Berst (1998, 64) sums up Shaw’s mixed feelings about his illustrious predecessor: Thus Shaw’s ambivalence about Shakespeare: on the one hand, keen disappointment and frustration with his mediocrity as an original or deep thinker; on the other hand, enticement by the vividness of his characters and scenes, admiration for his immense power over language, and enchantment with his musical expression. Shaw’s obvious enthusiasm about Shakespeare’s language, and the process in which he came up with his verse, is the primary focus of the following three Shakespearian themed works: The Dark Lady of the Sonnets, “A Dressing Room Secret” and Shakes vs. Shav.
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In Herbert’s essays and poems we find not only a wide range of economic problems, but also a real passion with which the author describes the economic fundaments of all civilizations. In the apocrypha The Portrait in Black Flames and poem “Hakeldama,” Herbert creates a great metaphor of the Final Judgment as the Great Book of accounts. This is nothing unusual, as the poet held a master’s degree in economics from the School of Economics in Krakow, currently the Krakow University of Economics.
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This article analyses a Church Slavonic translation of the stichera by Christopher of Mitylene which is preserved in a form adapted for liturgical use in two East Slavonic manuscripts, one of the early fi fteenth century, MS 15231 in the archive of the regional history museum in Jaroslavl′, the other of the later sixteenth century, MS 90 in the library of St John’s College, Oxford. On the basis of its liturgical, calendrical and linguistic peculiarities it is argued that the version in the Jaroslavl′ and Oxford manuscripts is distinct from and possibly earlier than the translation hitherto known from South Slavonic sources.
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0 Zdravko Zima A čiji sam to ja Uobičajena je pretpostavka, ili predrasuda, da pisac svoju karijeru počinje stihovima da bi se kasnije, u »ozbiljnijim« godinama, priklonio i drugim žanrovima. Kako se Tahir Mujičić nikada nije uozbiljio, barem ne na način koji propisuju pedagoški gnjavatori, tako je i njegov put bio drukčiji, o čemu dovoljno svjedoči njegova biografija i njegova bibliografija.
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The present article analyses the conversation of the cenacle Viața românească by exploring three directions of research. In the first place, the study concentrates on the conversation as a phenomenon of loss, focussing on the voice of the writers and oral speech as signs of extreme fragility. On the one hand, the reflection on the absence of the spoken word articulates an imaginary of evanescence that functions as a collective representation of the community. On the other hand, it reconsiders the relation between the oral and the written word by favouring the conversation against the literary work. In the second place, the article investigates the forms of the conversation specific to the cenacle as they appear in the memoirs of some members. Representing the cenacle as a democratic society where each member has equal rights, the memoirs of the cenacle depict, at the same time, some regulations that limit the speech such as the anti-rhetoric, the delicacy, and the admiration. Finally, the last issue to be approached is the content of the conversation. On the one hand, the cenacle represents itself as an elevated group that discusses the issues of literature, investing in the “profitable” conversation (Glinoer, Laisney) at the expense of the agreeable interaction. On the other hand, the cenacle values the forms of entertainment as a way of detachment from writing, the study focussing, in the last part, on the functions of laughter inside the literary community.
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Stacie Friend’s theory of fiction departs from those approaches that seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flexible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and only that genre—as its contrast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately depict a specific way of approaching such works.
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This present study adapts feminist stylistics framework to examine and analyse the gender representations and language of the laugh of the Medusa a speech written by Héléne Cixous. The paper, using a content analysis method, will mainly focus on issues related to gender representations and the language to interpret and uncover the implied and underlying meanings of the text. Héléne Cixous in her speech brings samples from the ancient Greek mythology of Medusa to give advices to her young female audience to write for themselves. She highlights the challenges and struggles that females have been repressed themselves through the patriarchal society. She encourages young girls to express themselves, their strengths and strong points in bravely through writing and boys to understand the feminine world. The study will scrutinize the speech to reveal the foregrounded features related to gender.
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The title of the dissertation (Perspectives of detachment in contemporary Hungarian literature – comparative literary analyses) was inspired by the texts that were consciously selected and analysed during the research. The interpretations focus on the characters and the aspects of marginality, furthermore on the theoretical differentiation between the concepts of strangeness and detachment. Detachment can be interpreted as a hypernym, that creates a framework where representation and self representation both have significant roles. Contemporary Hungarian literary texts that intertwine with literary traditions are the focal point of the research. For example take Seven Pennies, a short story by Zsigmond Móricz written in 1908. The text enables the interpretation of the beggar character in the Hungarian literature, making the intertextual analysis of the 'beggar' essential in present-day Hungarian literature. The paper examines the beggar, the homeless, and the adopted child characters as outsiders, at the same time problematic aspects of the broken home, marginality, and the lowlife existence, respectively the theoretical approaches and world literary connections of these tropes and topics. The works of Julia Kristeva, Jacques Derrida, Gordon Willard Allport, Gérard Genette, Enikő Darabos, Zsuzsa Tapodi, Slavoj Žižek, Antal Bokay, István Fried, Vladimir Gvozden and other authors provide the theoretical background for the thesis.The subject of the research are the problem and theoretical perspective of detachment, while the primary means of analysis is the comparative method. As a result the complexity of the concept of detachment can be revealed, additionally the variety of the examined characters. Based on these the paper aims to work out a typology, since such a comparative research, as well as a classification has not yet been completed regarding contemporary Hungarian literary texts
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The greatly examined story of A Lost Lady usually depicts Mrs. Forrester’s success in meeting and adapting to the challenges of a changing world, a world characterized by materialism and self-fulfilment. However, the overlooked story, one far more disturbing than the privileged story in the text, is the narrative of oppressed groups of people of other races and the lower class. Drawing on some aspects of postcolonial theory, this paper explores Willa Cather’s own reactions to real changes in her society, to the waning power of imperialism, and of her nostalgic longing for the western prairies of her youth, without showing any sympathy for the dispossessed Native Americans and other oppressed races. It will also disclose the unmistakable colonial overtones, which remarkably resonate with the common discourse of “Manifest Destiny” during the time period of American expansion to the Wild West.
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As a field and course, “Turkic World Literatures” covers Turkish literatures outside Turkey. However, in practice, it is seen to encompass new (contemporary-modern) literature field outside Turkey. This field is taught in Turkish higher education in different courses such as “Contemporary Turkic World Literatures”, “Turkic World Literatures”, “Comparative Turkic World Literatures” and “Azerbaijan/ Turkmenistan, etc. Literature Examples”. Nevertheless, there are some differences in practice and content when it comes to research in the field in general, and teaching in particular. This study discusses a few issues regarding Turkic World Literatures research and teaching and makes suggestions in conclusion. Within the framework of Turkic World Literatures course and research, “determination of the field’s scope”, “inter-field comparison” and “textual adaptation of contemporary literary theories and knowledge” are discussed.
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Nadine Gordimer, at almost eighty-eight, is the prolific grande-dame of South African literature, the author of a substantial oeuvre, and the winner of a Nobel Prize for Literature (1991). Gordimer has been writing for more than sixty years, and one short story, “The Train from Rhodesia” (1947), shows that, even as a young writer, she understood and was poised to reflect an understanding of the important cultural, intellectual, and political impulses that manifested locally and globally in the late 1940s.This paper rereads Gordimer’s early publication by examining it through the lenses of Freudian psychoanalytic, Marxist, feminist, and post-colonial theory. It argues that “The Train” sits at an important theoretical crossroad and that engaging the story through the four bodies of theory crystallizes complex theoretical concerns and exposes nexuses between major critical approaches. This recognition offers a novel perspective on an old (short) story by a thoroughly contemporary writer.The study draws on general and applied theory and literary criticism in tandem with close reading of the fictional text. It contributes to the body of scholarship on Gordimer and her work by taking as its subject a petite, pithy, but under-discussed publication that was almost precocious given the author’s age and experience—while the study may be of interest to a variety of literary scholars and contemporary critical theorists, it would be of special use to those seeking to begin a retrospective of Gordimer’s work.
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The collection of autographs of the former Prussian State Library in Berlin – now held by the Jagiellonian Library – contains a valuable autograph of Alexander Humboldt – fragment from Humboldt’s travel diary entitled Sobre algunos puntos interessantes para la Navegación, o extracto de las observaciones de longitud deducida de Eclipses del Sol y de la Luna de Satellites de Jupiter, distancias lunares y Chronometros en los annos de 1799–1803. The Humboldt’s manuscript travel diary was acquired by the Stiftung Preußischer Kulturbesitz Foundation in Berlin from a private owner in 2013. The part which is discussed in the present article (pp. 71–84) was cut out of Fascicle VIII of the notebook in the nineteenth century – most probably by Humboldt himself – after which it was annotated and given as a present to General Radowitz, who was a collector of autographs. It eventually found its way to the Royal Library in Berlin together with Radowitz’s entire collection.
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I analyse the Senki sehol soha [No one nowhere never] prose collection of Erzsébet Juhász – through relating it to the aspects of rurality – from the viewpoint of the philosophy of desire (following Sartre and Lévinas), thus turning transience into a central category of the volume. The desire prose of Juhász oscillates between the own and alien, worldly and otherworldly, present and past, and non-existence and existing elsewhere. The exploration of the sense of seclusion in the (rural, minority) existence is achieved through the poetic figure of a dead-end street, which, apart from the Erzsébet Juhász-style metaphor of existence, brings into the dialogue Aaron Blumm’s textual metaphor as well. On the other hand – apart from the parallels with Ottó Tolnai – the metaphor of the junk shop opens the door to the statement that the categories of never, nowhere, and nothing are the par excellence requisites of the verge of existence. I also deal with the concept of passing in the volume, its historical dimension (the denial of history in the country), as well as with other theoretical (Blanchot, Merleau-Ponty) and literary (Sylvia Plath, Samuel Beckett) relations of the hypersensitive prose of Erzsébet Juhász.
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