ŽANRAS: KANONAS AR TRANSFORMACIJA?
VU KHF Sociokultūrinių tyrimų centro spalio 23 d. surengtoje tarpdalykinėje Žanro konferencijoje mokslininkai humanitarai diskutavo apie žanrą ir jo pokyčius.
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VU KHF Sociokultūrinių tyrimų centro spalio 23 d. surengtoje tarpdalykinėje Žanro konferencijoje mokslininkai humanitarai diskutavo apie žanrą ir jo pokyčius.
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The idea of the article is to analyse the complicated interweaving of Chinese and Euro-Atlantic literary tradition in Gish Jen’s writings. Asian wing of American literature is a phenomenon that has declared its existence comparatively not long ago. The voice of Asian American writers was initially not very loud. However, at the turn of 20th-21st centuries contours of American literature began to change due to the influence of a new concept of man and world arisen in the writings of Maxine Hong Kingston, Tamezo Mori, Amy Tan, Kazuo Ishiguro, Gish Jen. On the one hand, G. Jen’s texts are written by the canons of a postmodern narrative, which implies the poetics of decentration and fragmentation of the text, irony, double code, multi-layered intertextuality. Sternian satirical dispute with literary and scientific works of his time, inherited by postmodern writers, has become one of the brightest distinctive characteristic of G. Jen’s texts as well. Like other postmodern writers, she creates literary and intellectual fabric of the text into which responses to a variety of influential theories and concepts of the turn of 20th-21st centuries are interwoven. On the other hand, the writer develops the tradition of Asian literature with its emphasis on moral and spiritual existence of a man. This tradition sees a man not as a battlefield but an interplay of good and evil. This interplay may not make a man perfect, but it makes him human.
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Gabler reconstructs and analyses the creation of Virginia Woolf’s novel To the Lighthouse with a focus on the third section, ‘The Lighthouse’. The novel’s structure and publication history are discussed alongside the rich sources on the text’s genesis, (auto)biographical materials and Woolf’s drafts. These drafts, although only few of them survive, shed light on the early development of her prose. Gabler’s analysis shows how Woolf departed from her personal experience – traces of which are visible in the earliest drafts – and gradually transformed the material of memory into fiction, thus endowing her work with artistic autonomy.
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The following article translates Kafka’s aesthetics of (dis)illusion into an artistic vision and devised performance of the post-war state of skepticism, moral disillusionment (to free or be freed from illusion), decline, illusory freedom and the truth that the modern world can no longer be represented by Kafka’s ‘sacrificed’ truth of an illusory world peace; it can instead be represented by his artistic delusion of a fetishized reality indifferent to the ideological background. Since the integrity of the self is illusory, Kafka’s psychoanalytical novel of an unfair trial in a totalitarian regime becomes a distressingly realistic alternative world ruled by oppression and bitterness. This approach decodes a political reading of his fictional efforts to devise the artistic world of The Trial in an attempt to recreate the universal conflict between man’s maze of elaborated, fraudulent illusions and the inevitable lure of human disillusions that finally leads to a gradual lapse into a state of illusion-clad confusion, defamiliarization, disappointment, regression and dissolution. To soothe the pain of disillusionment, life is thus transformed into an on-going, exhausting trial where authority cannot be evaded.
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In the following article, the opinion of the Russian literary critic Stepan Shevyrov on the matter of the popular journal Library for Reading, explicated in his article Literature and Commerce, is analysed. In the aforementioned article, the critic reproaches the journal for turning literature into a trading market, which causes, in the author’s opinion, the debasement of published literary works. Criticism of Shevyrov, which targets the aspects of publishing by the journal Library for Reading, considers not only the problem of writers’ honorariums payed for their literary works, but also the problem of genres. Shevyrov is convinced that high honorariums paid to authors reduce the artistic value of their literary works. This article seeks to determine the truthfulness of Shevyrov’s criticism, which is based on the view that high honorariums cause authors to write large, yet low-quality novels and stories.
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In order to analyse Akhmatova’s pathway to self-awareness and self-realisation, the article focuses on her readings and interpretations of certain cultural texts. The analysis unfolds in the direction of P. Ricoeur’s reflexive tradition. In that case, the reading range (Shakespeare’s Hamlet) and the literary characters (Ophelia), selected for self-understanding, become of considerable value – they set one’s “individual style of existence”. It is also assumed that Akhmatova’s comprehension of Dante Gabriel Rossetti’s paintings and the indirect testimonies to the dramatic life story of Rossetti and Elizabeth Siddal – his student, muse and wife – mediated by these works reconfigurated her Self, producing a model for interpretation of her own experience.
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This article discusses the number of plot and imagery coincidences in the classical texts, addressed to readership of both adults and children, such us works by Aleksandr Pushkin, Nikolai Gogol, Faddey Bulgarin, Alexander Ostrovsky, Johann Joachim Winckelmann, Alexandre Dumas, Adam Mickiewicz, Tomash Kaetan Wegierski, Maksim Gorky, Aleksandr Blok, Maximilian Voloshin, Vsevolod Ivanov, Vitali Gubarev, Eduard Uspensky. In some cases, the coincidences can’t be explained by the fact that one author had read the works of another, or we have no direct knowledge that an author knew the texts of the other one. The coincidences can be explained by the typological similarity of the situation or the presence of a common protoText.
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«Реализм» Достоевского. Общее впечатление от его произведений «Меня называют психологом – неправ- да, я реалист в высшем смысле, потому что изображаю все глубины человече- ского духа». Так сказал Достоевский сам о себе. Реалист, романтик, символист, нату- ралист и др. понятия слишком относи- тельны; более того, – они не противоре- чат, по крайней мере на практике, друг другу. Есть писатели, которых можно величать по-разному, как нам захочется, однако в любом случае мы не сможем втиснуть их в рамки какого-либо лите- ратурного «направления». Классифи- цированию не подлежит ни Данте, ни Шекспир, ни Гёте, ни, наконец, Досто- евский... Достоевского понять нелегко: его никогда не поймет чуждый его духу че- ловек, говорит Н. Бердяев в своей мо- нографии. Тем не менее вряд ли найдет- ся мыслящий и чувствующий человек, которого не удивило бы, даже при пер- вом прочтении великих его сочинений, это исключительное, неповторимое яв- ление – Достоевский...
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Внутренние стороны обложки книги Светланы Алексеевны Валюлис укра- шены портретами Шопенгауэра, Вл. Соловьева, Гегеля, Канта, Бергсона, Ницше, Хайдеггера – автор исследует влияние именно их философских идей на литературный процесс нескольких эпох, на художественное мышление ряда писателей и мир их произведе- ний. Лица этих писателей также смо- трят на нас с обложки – это Н. Гоголь, И. Тургенев, Л. Толстой, Ф. Достоевский, А. Фет, Дм. Мережковский, И. Бунин, Ф. Сологуб, Ю. Балтрушайтис, В. Ми- колайтис-Путинас, С. Довлатов. В этой представительной «иконографии» нет, однако, портретов Мириам Юзефов- ской, Светланы Василенко и Людмилы Улицкой.
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The goal of this paper is to investigate, analyze and compare the presence and role of a garment in two literary different stories. In both occasions, a precious mantle was offered as a gift but that initiative led to disaster. Herodotean Amestris and Sophoclean Deianeira face their husband’s unfaithfulness and are both compelled to find ways to react. The details of both narrations will gradually bring to light the role as well as the influence of a garment-gift that is going to kill his receiver (Artaynte and Heracles). A present is transformed into lethal weapon and two female protagonists with different moral characters organize their plan of action in order to win back two lustful and powerful men.
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Since the times of Herodotus, historiographic accounts have been written employing dramatic narration, thus granting historical figures immediate appearance through direct speech. This kind of historiographical theater, considered to be fictive and unreliable by modern historiographical critique, has a tradition and function in medieval historical accounts. The present paper analyses the purpose and the effect of dramatic narration in medieval texts, focusing on examples in Henry of Latvia’s Chronicon Livoniae. In examining the utterances in direct speech in more detail, it aims to disclose the image of the native peoples in the Baltic, the Barbarians, the way it is constructed by the author, and to determine the significance of dramatic narration in a historical account.
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This article aims to reveal and describe some of the features of the poetics of Victor Pelevin. As a working hypothesis, an idea is suggested that Pelevin takes some distance from the postulates of classical postmodernism and uses the aesthetic notions and techniques of the Baroque. Thus, Pelevin’s work is to be regarded in the context of the poetics of baroque, which should be separated from the Neobaroque of postmodernism. Neo-baroque is regarded in two aspects – as one of the components of postmodernism, and even beyond this trend, when some elements, like its theatricality or the contrasts, being baroque, can go beyond postmodernism. The two main texts analyzed in this framework are Chapayev and Void and Pineapple Water for the Fair Lady. In the article, theatricality is shown to be not only used to make the style of works more striking on the reader, but that it also has a didactic nature in that it gives the author means to show his position through the performance. Baroque contrasts structure the narrative, making heroes escape from the illusionary and chaotic world described in books of Viktor Pelevin.
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The paper discusses the ways of using and modifying folk proverbs in the melodramas of Džono Palmotic (1607—1657), a poet from Dubrovnik. One comes to the conclusion that — regardless of how he treated the oral source of proverbs (literal quotation, editing or allusion) — Palmotic always weaved proverbs into his verses naturally and with an obvious skill. The greatest value of Palmotic’s melodramas lies in that intertwining of the baroque poetics and the poetics of oral creations.
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The object of this research is cultural trauma. The signs of the cultural trauma are sought in the novel Dievų miškas (Forest of Gods, 1957) by Balys Sruoga (1896–1947). The repressions of Nazis and cultural trauma that they caused is a new subject that did not get enough attention in the field of literature. Importance of this research is based on the idea that it is impossible to overcome the cultural trauma without consideration and discussion. The article defines the relation between text and context on the basis of the ideas of new historicism. The analysis is intended to reveal what traumatic events are represented in the novel and how the identity of the person reveals in the one, and how traumatic experience changes story style and structure. Analysis of the novel reveals that the characters face difficult living conditions, physical and psychological violence, and the constant fear of death; these things cause change of values. The irony was noticed in the novel. An ironic story becomes a language of traumatic experience that helps to avoid a sensitive story, disassociate from personal experience, and tell the tragedy of a nation. One must emphasize that in the story of traumatic experience flashbacks get very important. Finally, analysis reveals that in the novel by B. Sruoga the most important sign of identity is culture.
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The article aims to estimate the distribution of demonstrative pronouns in the translated and nontranslated Lithuanian text as compared to the English original. The quantitative method and contrastive analysis based on the triangulation of data sources are used to reveal whether demonstrative pronouns show different distribution patterns in the English original and Lithuanian translation compared to the translated and non-translated Lithuanian text. The research material was collected from Harry Potter and the Goblet of Fire by J. K. Rowling and a fantasy novel Hour of the Wolf by A. Tapinas. The preferences identified did not indicate significant differences in the tendencies for the use of demonstrative pronouns in the translated and non-translated text of Lithuanian fiction but revealed significant cross-linguistic contrasts in the quantitative use of demonstratives. It was therefore presumed that there was no communicative difference between the translated and non-translated Lithuanian fictional text due to the genre and language conventions for the use of deictics and that the Lithuanian text demonstrated a preference for a more pronounced pragmatic explicitness than the English language text.
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The article analyses and sheds light on the nonsense techniques used in Lennart Hellsing’s Sjörövarbok (1965) (The Pirate Book). In this article, it is argued, furthermore, that Hellsing’s nonsense writings fit in with his role in Swedish children’s literature in the latter half of the 20th century as both a critic and a carrier of tradition. Theoretically and methodologically the study draws on the critical apparatus developed mainly by Wim Tigges. It is shown that Sjörövarbok is a prime example of nonsense literature, particularly in the use of repetition (names, verbs) and simultaneity of meaning.
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In the thirty first chapter of his book Al-Burhân fi ‘ulûm l-Qur’ân, imam Bedruddin ez-Zerkeshi analyses the significance of numerous examples given in the Qur-an. He emphasises the importance of these examples as warnings, counsel, guidance, encouragement, instructions through giving the abstract intellectual ideas in concrete/ sensual forms. He devotes a large part of his work to explanation of vahdâniyyet as Allahs’ sublime attribute. In the final part, the author elucidates some examples of imân (faith) and the phenomenon of water and fire as mentioned in the surah Ar-R’ad.
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In her late novel, love, again (1996), Doris Lessing represents a penetrative insight of love, providing the widest perspective of love than in any of her previous work. The abundance and variety of plausible les affaires d’amour, which transgress the boundaries of gender, age, geography, and social status, make love, again Lessing’s most “loveful” novel. The narrative responds to this multiplicity accordingly. The essay explores the theme of romantic love of the central female character, Sarah Durham, who is at the centre of the narrative and whose emotional landscape is meticulously mapped. It also aims to unveil the ways Doris Lessing exploits a longstanding tradition of interpreting love in Western philosophy and culture – from Plato to contemporary theorists, including Alain Badiou. Special attention is paid to the interweaving of love and friendship in the relationship of woman and man as well as friendship’s “healing” power for unrequited love encapsulated in the character of Stephen Ellington-Smith. Also, by tracing the transformative impulse of love, the essay tries to bring light on the constructive (in the case of Sarah) and problematic (Stephen) consequences of love.
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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block. The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book. All the characters are divided into puppets— unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.
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Artykuł, zainspirowany poglądami Daniela Ferrera na genetyczną wariację jako proces zbudowany z wielu powiązań, a nie serię wolnych operacji podporządkowanych innym operacjom, przedstawia literacką genezę jako grę wariacji. Reguły gry można jedynie wstępnie rozpoznać po zidentyfikowaniu jej składników wynikających z tekstu i dokumentu. W artykule szczególną uwagę poświęcam analizie wariacji in absentia, czyli sytuacji, w której choć zapisana jest tylko jedna wersja tekstu, można zestawić ją z wersją, która będzie bliższa czytelnikowi (bądź bardziej oczekiwana). Wariacja in absentia jest istotna dla analizy zarówno tekstowych, jak i materialnych aspektów procesu pisania (np. zmiany układu na stronie, zmiany długopisu, zastąpienia pomocy pisarskich). W artykule śledzę ten rodzaj wariacji na podstawie szkiców Os Degraus do Parnaso (Stopnie na Parnas), kolekcji esejów wszechstronnego pisarza i analitycznego filozofa M.S. Lourenço (1936–2009). Dokładna interpretacja tekstowych oraz materialnych stałych i zmiennych, w zakresie pisowni i użycia narzędzi pisania, prowadzi do wniosku, że przypadki w tekście (elementy, które według W.W. Grega wpływają jedynie na formalną prezentację) nie są zawsze przypadkowe w genezie literackiej.
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