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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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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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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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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 aim of this study is to discuss the rhetorical strategies and literary sources in Epode 2, Ad fontem Sonam. In patrio fundo, dum Roma rediisset by Maciej Kazimierz Sarbiewski (Casimir). It opens the possibility of an intertextual reading of the text (Catullus 31, Horace III 13, Ovid Metamorphoses III (407-417). My thesis is that the text, like the Horatian ode, demands a metapoetic reading. The “source Sona” and its waters, wherever located in fact, stand for an allegory of poetic inspiration, to be identified, again as in Horace, with both the poet and his poetry, but probably also with God’s grace. Thus the image of the poet’s motherland takes on a symbolic dimension and may be understood as an expression of the poetic identity of his own, a hallmark of the poet and of his individuality. In this way the poem becomes a kind of prayer and a performative act of speech.
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Matija Antun Relković (1732–1798) was a Croatian writer in the period of Enlightenment. This issue of Dusty Covers presents all the woodcuts and vignettes from Relković’s book which are reprinted in their respective textual contexts. The book Esopove fabule za slavonsku u skullu hodechju dicu sastavljene [Aesop’s Fables, Composed for Slavonic School-going Children] was published in Osijek, six years after Relković’s death. It covers 144 octavo pages which contain one hundred fables, the cover illustration, 22 woodcuts, and ten vignettes.
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Ahmet Arif is one of the most important poets of Diyarbakır. He has given works in a socialist realistic line and has reflected his emotions into his works with an artistic sensation. He mostly concerns with infrastructural, oppressed and exploited peoples and the difficulties of living in the Eastern part of Turkey. He is one of the most important Marxist poets in Turkey. The most important aspect that distinguishes Ahmet Arif from the other Marxists is his focus on village life and mountain life instead of tending to city life. Ahmet Arif, son of a civil servant, describes the people and his sights in his poems, but reflects this reality in a unique and aesthetic way with unusual interlocks, local expressions and melodic lines of the East. This Marxist and aesthetic aspect makes the poet my subject matter.
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Potrebbe sembrare che negli ultimi anni l'attenzione degli studi verso i linguaggi totalitari sia decisamente scemata, o perfino svanita. Ma non è così.
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This paper appreciates the notion of cultural hybridity in the Ndebele novel, the case in point being Sigogo’s novel, Kunjalo. The major focus is on the novelist’s vision that the mixing of cultures should be understood as a connection of different entities rather than an attempt to homogenise. Using hybridity as a guiding framework, the paper analyses the events in the novel Kunjalo and concludes that hybridity does not necessarily call for the negative stereotypes which view cultural transfers and exchange as pervasion. Rather, cultural hybridity allows for the continuous process of borrowing and lending between cultures.
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The article analyses the problems of meaning and classification of the term anagnorisis (ἀναγνώρισις) as it is defined in Aristotle’s Poetics. It focuses on how the term anagnorisis is understood and interpreted by scholars – different translations and their interpretations of the same type of anagnorisis are compared. The article also searches for the answers to the following questions: does the term of anagnorisis discussed by Aristotle mean the recognition of persons or just any kind of truth in a drama; why do some translators differentiate five and others six types of anagnorisis; what did Aristotle bear in mind by distinguishing the type of anagnorisis called “the recognition made by a poet himself” (Arist. Poet. XVI; 1454b 30–31), whereas it is known that all recognitions were created by poets themselves; does “an anagnorisis by false reasoning (a false syllogism)” occur among tragedy characters or does the audience at first misjudge, but later recognises the characters correctly? The author of the article argues that the version of the Arabic manuscript of Aristotle’s Poetics is more logical, as it states that one of the characters (θατέρου) rather than a spectator (θεάτρου) mistakenly recognises another character (Arist. Poet. XVI, 1455a 12–17). First of all, Aristotle does not state specifically that this is the fifth (different from all the others) way of recognition, but while discussing the fourth way of “anagnorisis by reasoning”, he adds that there is also and “an anagnorisis by false reasoning (a false syllogism)” (Arist. Poet. XVI, 1455a 12–13). Secondly, the recognitions described by Aristotle in Part XVI of Poetics occur between two characters, when one has to recognise the other. Therefore, the author of the article does not agree with the opinion by Dana Munteanu (2002) – that in Menander’s comedy Epitrepontes, Smikrine’s false recognition should be referred to as an erroneous spectator’s recognition, whereas at the end of the play Menander depicts Smikrine as a misled spectator just observing the events uninvolved without understanding them properly. By such leaving the word “spectator” in Aristotle’s classification of the fifth type of anagnorisis and using it for a character observing the actions of the play uninvolved, an ambiguity occurs, as Aristotle himself in his Poetics speaks many times about an actual spectator of the tragedy, who while watching the action of the play experiences fear and pity. The author of the article thinks that the translation of chapter XVI of Aristotle’s Poetics by Marcelinas Ročka (1990) should be corrected in some places. At the fifth “recognition by false reasoning”, a note in square brackets stating that this is the last recognition should be omitted. In fact, it is the next-to-last recognition discussed by Aristotle. In translation “the recognitions invented by the poet himself”, some other word can be used, as Aristotle here has in mind that poets usually write poorly and use trite recognitions. A phrase “to contrive” (in Lithuanian “sukurpti”) could be used here instead, as it means “to make or put together roughly or hastily”. It is also true speaking of the translation that a character of the play rather than the audience recognises another character by false reasoning. Finally, the author of the article draws a conclusion that according to Aristotle an anagnorisis is the recognition of persons occurring among characters of the play. In Aristotle’s Poetics, six variants of anagnorisis are distinguished and their classification made based on the principle of artistry and the originality of its use in plays.
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Nel 1966 un giovane polonista, classe 1943, originario di Tarnów e diplomato al liceo di Twardogóra in Slesia, si laureava all’Università di Breslavia, sotto la direzione del prof. Czesław Hernas, e subito entrava a far parte, in qualità di assistente, della Cattedra (presto diventata Istituto) di Polonistica dell’Ateneo breslaviense. Così è cominciato il lungo e ricco cursus studiorum di Andrzej Litwornia. Lungo, e allo stesso tempo troppo breve, troncato prematuramente il 16 marzo 2006.
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Quadratus belonged to the second generation of Jesus’ followers. At the early stage of his life he was an itinerant preacher of the Gospel, also visiting Asia Minor in the course of his travels. It was there that he may have received information about the persons who had directly experienced Jesus’ beneficence. After he settled in Athens, Quadratus, just like other Athenian apologists, Aristides and, later, Athenagoras, was not part of the Church hierarchy, but, more likely, a free teacher. When Hadrian was visiting Athens, he was presented with an apology which should have provided the emperor with reliable information concerning the new religion. The paper suggests a hypothesis that the direct impulse to defend Christianity was the conflict between the Christians and the Athenian society on the issue of the Eleusinian mysteries. Quadratus’ apologetic opus, among other topics of which we have no knowledge, discussed the unique character of the miracles performed by Christ, comparing them to the deeds of the demigods or of the contemporary miracleworkers. It also (according Martyrologium of Bede the Venerable) discussed the nature of Christian food, emphasising its ordinary character. Just as the Letter to Diognetus, it probably suggested that the Christian way of life and customs were not different from those of other people.
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