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İNGİLİZ EDEBİYATININ TOPLUMSAL MİSYONU VE SÖMÜRGECİLİK

Author(s): Ahmet Kayıntu / Language(s): Turkish Issue: 13/2017

This study sets out to demonstrate that the emergence and rise of the discipline of English literature was moulded by the colonial mission of civilizing colonial subjects in India and educating the middle class in England. The former one that is the civilizing mission was an adaptation of the content of English literature to the administrative and political imperatives of British colonial rule in India while the latter the educating mission was in turn proved to be support education of English middle class for social and political control in domestic affairs. In order to realise this aim English literature had to prove its own existence among its other traditional social institutions or rivals such as religion, and philology. The emergence and rise of English literature in England and overseas also demonstrate the ways of establishment of the new attempts and experimentations in colonies which could not be put into action in England before.

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“2 hours priceless talk” – on the Friendship between Katherine Mansfield and Virginia Woolf

Author(s): Mirosława Kubasiewicz / Language(s): English Issue: 6/2018

In spite of all the differences between Katherine Mansfield and Virginia Woolf, their biographers and critics underline a strong affinity between the two writers. What brought Mansfield and Woolf together was their passion for writing, their desire to become professional writers and to find a new voice that could genuinely express their female experience. Having a partner to discuss and share ideas on new ways of writing was of immense importance to each of them and had direct creative consequences for their work. In the light of existing evidence it comes as a surprise that opinions of Woolf and Mansfield as bitter rivals, and of Woolf as Mansfield’s enemy, still persist. The aim of this essay, then, is to present their relationship, with all its vicissitudes, as a story of a professional friendship, drawing on the findings of the Woolf and Mansfield criticism and on my own reading of their letters and works.

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Трансформация шекспировских образов в творчестве Б. Л. Пастернака 1910–1920-х гг.

Author(s): Anna S. Akimova / Language(s): Russian Issue: 4/2018

The urgency of the work lies in the fact that English culture and literary tradition were significant in the life and creative development of Pasternak. The article is devoted to the problem of interaction of Russian and English literatures in the Boris Pasternak’s works. It deals with the facts of direct appeal of the poet to the creative heritage of English poets and playwrights, special attention is paid to the images of Shakespeare’s tragedies, which manifested not only in the poet’s correspondence with his relatives, but also in the poems (The Decade of Presny, Shakespeare, English Lessons etc.) and in the novel Doctor Zhivago. The images of Shakespeare’s tragedies (Macbet’s witches, Ophelia, Desdemona, Birnam forest) allow Pasternak to describe the events taking place in the family and in the country in whole. They become the topic of Pasternak’s literary-critical articles (Hamlet, Prince of Denmark (on behalf of the translator), Notes on Shakespeare, etc.). They express not only the understanding of the main images of his works, the interpretation of their conflicts and Pasternak’s observations on Shakespeare’s style, but also the reasoning about his own method of translating. Thus, the Pasternak was under the influence of Shakespeare’s style long before working upon the translations of his plays.

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Play vs. Screen

Author(s): Alexandra Ștefania Țiulescu / Language(s): English Issue: 18/2019

This present paper argues the use of visual language as improvement to cover open areas of discussion which go to the very core of Shakespeare’s legacy in modern age. The purpose of this paper is to invite the reader of Shakespeare’s dramatic texts to analyse his language from the “camera” perspective and to cover a complex picture of the role of the director for the screen adaptation. Casting new light on established forms of media transmission, this paper presents an analysis of different techniques in which Shakespeare’s “Hamlet” is transmitted by Franco Zeffirelli on the screen, looking through various cuts from Act 1, Scene 3 in accordance with the play story.

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NOVI ISTORIZAM I ENGLESKA RENESANSA

Author(s): Bojana Rakočević / Language(s): Serbian Issue: 11/2015

This paper presents new historicism, a critical practice founded in the early 1980s. New historicist readings are based on the synchronic study of both literary and non-literary texts that belong to a cultural system. These readings exclude the analysis of ideas, literary genres and motifs isolated from the wider social context. The focus of new historicism is on the political context and function of literary works and on the text as a factor of historical events. However, the scope of new historicism interest includes culture, society, politics, institutions, living conditions of social classes and genders, and social and material context. The presented views and analyses from the works of the most influential new historicists, primarily Stephen Greenblatt, represent a new kind of perception of the English renaissance literature from the standpoint of the relations between power, politics, and other social relations and conditions of the early modern age.

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Џојсово промишљање о љубави без слободе и слободи без љубави у драми „Изгнаници“

Author(s): Biljana R. Vlašković Ilić / Language(s): Serbian Issue: 12/2015

Joyce’s play Exiles (1918) is considered his least successful work, especially in comparison to the complexity of symbolism and the stream-of-consciousness technique skilfully employed by Joyce in his later novels – A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake. Exiles, however, documents two significant things: the autobiographical elements incorporated into its plot provide insight into Joyce’s complicated relationship with Nora Barnacle, whereas the play as a whole reveals the influence that Henrik Ibsen exerted over Joyce’s art. Drawing on these two aspects of the play, the paper examines the way in which James Joyce analysed the problematic relation between freedom and marriage, freedom and exile, freedom and dignity, freedom and the beauty of living. The paper favours the thesis that despite the inconsistencies of Exiles and Joyce’s inability to resolve the plot of the play, this early dramatic experiment should be regarded as the artistic work that paved the way not only towards the stream-of-consciousness technique which Joyce perfected in his subsequent works, but also towards the specific, primarily artistic perception of freedom, which is the basis for the understanding of Joyce’s celebrated novels.

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The Survival Value of Telling Stories: “Pincher Martin” and “Life of Pi”

Author(s): Vesna Lopičić / Language(s): English Issue: 9/2014

The last two decades in literary studies have been marked by increasing interest in evolutionary theories of art involving psychology, cognitive science, biology, neurology, etc., all somehow related to Darwinism. A common conclusion of various researches is that storytelling is an adaptation that has significantly contributed to human survival as a species, making man Homo Fictus rather than Homo Sapiens. A number of reasons are given as to why people tell stories and how stories make us human. In this article, I would like to argue that telling stories indeed has a high survival value, not only because Boyd (On the Origin of Stories 2009) claims art develops creativity and encourages cooperation, or because Gottschall (The Storytelling Animal 2012) believes we need to make sense of the world and satisfy our hunger for meaning by imposing patterns, but also because storytelling can be a survival technique. In this sense, the fi ctional Shahrazad offers an option to existentially threatened individuals. The possible survival value of telling stories will be illustrated by the characters from the novels of William Golding and Yann Martel who employ the same defensive mechanism of storytelling to different effect.

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Klon kao metafora Drugog u romanu „Ne daj mi nikada da odem“ Kazua Išigura

Author(s): Milica Živković / Language(s): Serbian Issue: 9/2014

In the tradition of Mary Shelley’s Frankenstein (1818) and Aldous Huxley’s Brave New World (1932), Kazuo Ishiguro’s novel Never Let Me Go (2005) employs human cloning as a complex metaphor for personal identity and social relations. Unlike these classics of the literary dystopia, the novel’s anxieties are not generated by the relationship between the human being and biotechnology, more specifically, the possibility of the creation of post human life forms in the near future, which can easily be assumed from the centrality of the metaphor of cloning both in the novel and the contemporary socio/ cultural context. Its deepest anxieties concern eff ective ways of surveillance and social control by “a Leviathan”, which Darko Suvin associates with any kind of “collective, politico-economic and ideological hegemony” (Suvin 2009: 226), and the novel identifies with the contemporary age of biocapitalism and neoliberalism. The concept of biopolitics as deployed in the theories of Giorgio Agamben and Michael Foucault and Darko Suvin’s ideas about the hegemony of a “new Leviathan” are used as the framework within which the novel will be read as Ishiguro’s critique of utilitarianism and the rising instrumentalisation of life.

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Robert Graves – A Modernist Nietzschean Poet?

Author(s): Tomislav M. Pavlović / Language(s): English Issue: 9/2014

The aim of our analysis is to explore the influence of Nietzsche’s aesthetic doctrine on Robert Graves (1895–1985), the famous English poet and novelist. The paradox we lay our emphasis on in the very beginning lies in the fact that Robert Graves used to speak about Nietzsche and his works in a rather deprecatory manner. However, it is too obvious that the views of both authors and their approach to certain key categories of modernism are strikingly similar. The aim of our comparative survey is to juxtapose Nietzsche’s and Graves’s views on history, poetry, the nature of poetic inspiration, and modernist myth- making and to prove that Graves as many other modernist writers, did not escape being influenced, directly or indirectly, by the ideas of the great German philosopher.

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Javna i privatna istorija u romanu „Bledi obrisi brda“ Kazua Išigura

Author(s): Zlata Lukić / Language(s): Serbian Issue: 8/2013

Given that the complex relationship between history and fiction has been among the never-ceasing topics of discussion, and has even been additionally problematized in the age of postmodernism, the objective of this paper was to analyse Kazuo Ishiguro’s novel A Pale View of the Hills, primarily addressing its treatment of history; the dialogue between the past and the present; the subjective vision of history conditioned by different perspectives; and the two types of history opposed in the novel – public and private, i.e. collective and individual history. The narrated past events in the core of this novel take place on two different, yet mutually connected levels – the wider-ranging level of public history and momentous historical events, on the one hand, and the narrower level of personal, individual and highly biased history, on the other. By successfully intertwining these two aspects of history in A Pale View of the Hills, Kazuo Ishiguro underlines exactly what we have defi ned as the essence of the postmodern problematizing of history – i.e. its qualities of being elusive, perspective-conditioned and impossible to ascertain.

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Sukob kritičkih interpretacija na primeru Šekspirovog Falstafa

Author(s): Milena Kostić / Language(s): Serbian Issue: 8/2013

Literary critics were mostly divided into two dominant, rather contrasting, interpretative fractions of Falstaff during the 20th century: on the one hand, there were critics (Bradley, Goddard) who agreed with Bloom in glorifying Falstaff as “the representative of imaginative freedom, of a liberty set against time, death, and the state, which is a condition that we crave for ourselves... the image of life itself” (Bloom 1998: 288). On the other hand, Wilson and Tillyard identified the structure of medieval morality plays in Shakespeare’s Henry IV; in the same vein, in the character of Falstaff they perceived the author’s moral condemnation of the careless life attitudes that corrupted the youth. Recent interpretations of Falstaff have not been as radical in their praise or disapproval as these two critical fractions, but are generally characterized by combining their various insights. Special attention in the paper is paid to Grenblatt’s new historicist interpretation of Falstaff as a potential subversive force in the Elizabethan system of values, as well as to the understanding of Falstaff from the point of view of the theory of carneval practiced by Bakhtin and his followers. In the light of diverse critical insights, the paper focuses on the conflict between the private and public manifested in Henry IV through prince Hal’s divided loyalty to his dominant, royal, biological father and his plebeian substitute.

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Martin Crimp’s “The City”: Insecurities of modern speech

Author(s): Dilek İnan / Language(s): English Issue: 6/2012

Stage language was reinvented by Samuel Beckett and Harold Pinter in England, in the second half of the 20th century. It is no longer based on the Aristotelian mimesis. Beckett and Pinter’s works have had direct influence on the 21st century tradition of new playwrights, one of whom is Martin Crimp. While Crimp explores a symbolic and absurdist landscape of cruel relationships, he also depicts current problems such as materialism, unemployment, marital aggression, mental illness, and loneliness in the British urban society. Crimp considers theatre an appropriate means to express this urban depression by employing fluid speech in which there are frequent interruptions and repetitions and where the lines overlap and the thoughts pile up in hesitations. He illustrates anxiety and fear of contact. This paper analyses the power of the stage language in Crimp’s 2008 play The City, which represents the chaos of postmodern reality within a space-time collage. The play problematises and challenges Britain’s text-based theatre culture and English naturalism.

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У сусрет неухватљивом, блиском лику Другог

Author(s): Vanja D. Vukićević Garić / Language(s): Serbian Issue: 5/2012

Review of: Knežević, Marija (2011), Ogledi iz angloameričke književnosti, Nikšić: Filozofski fakultet.

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Par Dievu un Labo. Tulkojums no angļu valodas, atzīmējot britu rakstnieces un filozofes simtgadi

Author(s): Airisa Mērdoka / Language(s): Latvian Issue: 3/2019

Nodarbojoties ar filozofiju, mēs pētām paši savu temperamentu un vienlaikus cenšamies atklāt patiesību. Man šķiet, ka mūsdienu morāles filozofijā ir kāda neaizpildīta niša. Vairākas garīgās dzīves jomas, kas saistītas ar filozofiju, vai nu vēršas plašumā (psiholoģija, politiskās un sociālās teorijas), vai brūk kopā (reliģija), bet filozofija nespēj tām tikt līdzi – vai nu sniedzot atbalstu (pirmajā gadījumā), vai otrajā – palīdzot saglabāt atbilstošās vērtības. Nepieciešams izveidot darbotiesspējīgu filozofisko psiholoģiju, kura varētu vismaz mēģināt savienot moderno psiholoģijas terminoloģiju ar vērtību jēdzieniem.

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The Coral Island vs. Lord of the Flies. Variations in Emotional Intelligence Skills

Author(s): Raluca-Ștefania Pelin / Language(s): English Issue: 7/2017

The present paper aims at a close analysis of two novels that bring to light the issue of human behaviour and survival in unfamiliar conditions: The Coral Island, by Robert Michael Ballantyne and Lord of the Flies, by William Golding. Although the former novel has served as a source of inspiration for the latter, its utopian atmosphere and the power relations in it are cruelly overshadowed by the dystopian perspective Golding offers. Strikingly enough, the characters in both novels are cast on islands of almost equal beauty and resources and are let free to choose in fairly similar extreme contexts. However, the reader is faced with two unexpected unveilings of human manifestations that reveal the inner structure of the acting people in both cases. By means of a transfer of concepts from the psychological field of Emotional Intelligence, the profiles of the characters gain new dimensions, and the reader gets a deeper insight into the intricate inner workings of the human mind and human relations, and not in the least, into the power of the context to turn these relations into beneficial or destructive outcomes. The boys themselves - with their emotional and ethical heritage - determine the courses of action and in the end they either rejoice in the emotional and the moral choices they have made or deplore the flaws of their character.

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Representations of the Upper-Class Victorian Father in Ellen Pickering‘s The Fright

Author(s): Alina Pintilii / Language(s): English Issue: 7/2017

The Fright by Ellen Pickering deals with parental roles within a wide range of foster families of early Victorian upper classes and with parent-child relationships these roles imply. A special attention is drawn to the paternal figure as it is depicted in the characters of Mr Bradley and Mr Rolleston, and to the relationships they develop with Grace, whom they foster one after another. Mr Bradley is a kind and loving foster parent to Grace, but his physical and psychological absence and lack of domestic authority allow his wife and children to mistreat her. In contrast, Mr Rolleston is described as a sovereign father who is always present, being actively and directly involved with his foster daughter, but whose parental involvement derives from self-oriented reasons, making his fatherhood swing from stern coldness to affection. The contention is that the portrayals of Mr Bradley‘s and Mr Rolleston’s fatherhood depart from the socio-historical prototype of early Victorian wealthy fathers, who were often absent from their households, but nonetheless ruled them with undisputed power. By comparing the literary representations of the upper-class English father to the typical historical construct, this article aims at proving, through the deviation existing between these two, that the realism of the Victorian novel does not consist in rendering characters and their actions in consistency with socio-historical templates.

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Hi(s)story Gone Wrong. Martin Amis on the Holocaust in Time‘s Arrow

Author(s): Michaela Praisler / Language(s): English Issue: 7/2017

A historical novel told backwards, Martin Amis‘s Time‘s Arrow recycles the shared memories of the Holocaust, experiments with narrative representation and uses black irony throughout, in an attempt at healing the past and avenging the dead, while shedding surgical light on the present and the living. The paper focuses on the aforementioned, analysing the way in which form supports content, and his story (that of a Nazi doctor) rewrites history (which emerges as a series of consecutive dystopias).

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Memory and Identity in The Ocean at the End of the Lane by Neil Gaiman

Author(s): Irina Rață / Language(s): English Issue: 7/2017

In his novel The Ocean at the End of the Lane (2013), Neil Gaiman has succeeded in telling another spellbinding fairy-tale for adults. It is unique among Gaiman‘s novels, as it features a child protagonist and his specific worldview. Despite being a fantasy novel, with a narrative filled with magic and wonder, it tells the traumatic tale of memory, identity, self-sacrifice, and survival. It portrays the essential role of memory as a coping mechanism, necessary for survival, and the ways in which childhood occurrences ultimately shape the adult‘s identity. This article aims to address and analyse the identity formation and the role of the memory in this process in The Ocean at the End of the Lane, through the lens of memory studies, and structuralist theory.

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Tea first. Then war! - Alan Ayckbourn‘s Neighbourhood Watch (2011): A reflection on Great Britain‘s 21st century internal security policy and its citizens‘ need for safety?

Author(s): Maria Wiegel / Language(s): English Issue: 7/2017

In a time when terrorism has become a regular topic in newspapers and on television, security appears as a recent and urgent issue. CCTV cameras and surveillance operate in a great part of western public space and life. This article focuses on the ways in which the radicalized internal security policy of the Bluebell Hill Development, in Alan Ayckbourn‘s play Neighbourhood Watch (2011), reflects on Great Britain‘s security policy and society’s need for safety and security throughout the early 21st century. Security policy is one of the main issues in the western countries of the late 20th and the early 21st century. The paradox of using surveillance - a restriction of freedom - for the protection of freedom can be seen in Neighbourhood Watch. The result of contradictory security measures, as argued in this article, leads to paranoia. Neighbourhood Watch functions as a mirror to present-day Great Britain‘s security measures, while using the microcosm of a small neighbourhood.

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Joseph Conrad-Korzeniowski, an English Writer with a Polish Soul: Joseph Conrad’s Polish Heritage

Author(s): Joanna Skolik / Language(s): English Issue: XIII/2018

The article presents a portrait of Joseph Conrad-Korzeniowski, an English writer with a Polish soul. Conrad—the last Polish Romantic—did not only manage to introduce Polish dreams and longings into English (and Western) literature, but also transformed the Polish experience into a universal one. Writing about exotic, faraway places, he disseminated myths concerning Polish national identity, chivalric tradition and the Polish Eastern Borderland atmosphere and ethos. Conrad, a very demanding writer, never presents ready-made answers, nor does he offer simple solutions to the problems of his protagonists. Moreover, everybody can understand Conrad in their own personal way, for he is perceived as “one of us,” no matter who “we” are.

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