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In his Il romanzo arabo al cinema. Microcosmi egiziani e palestinesi, Aldo Nicosia thoroughly analyzes the transformations the literary work undergoes on its path towards filmic adaptation.
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This paper analyzes the changes in the linguistic landscape of Libya during the period between the February 2011 uprising and the death of Gaddafi in October 2011 by examining street art in Tripoli. Here, I treat the street art as painted images and words in public contexts are part of the visual linguistic landscape. There are also multilingual ones, for instance, those combining Arabic with Berber or those including English in them, so those are indeed linguistic landscapes. During the Gaddafi regime, such public expressions referred to and often praised Gaddafi; however, during the uprising, both artists and everyday Libyans took to the streets to express their pro- or anti-Gaddafi sentiments, giving rise to a new form of public debate. In this presentation, I will be analyzing the informative and symbolic functions of some images and writings that were painted in the streets as well as public and private buildings in Tripoli, the capital of Libya.
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The present study on the subject of graffiti in Iraq shows that there are limited resources available on his topic. Therefore, this research paper represents one of the early exploratory studies on graffiti in Iraq. The paper firstly elaborates on various forms of graffiti. Secondly, principal reports on graffiti from Iraq are summarized. Thirdly, a YouTube video clip from 2007Ramadi, Iraq is analyzed in detail. Fourthly, graffiti from Sulaymaniyah in northeast Iraq, Kurdistan region, is discussed. There is a focus on one mural from the Aqqari district and an analysis of graffiti expressions on the walls of the secondary school in Shaqami Saholaka, Salim Street, and at Cafe 11 in Aqqari district, Bexud Street. There is also a focus on one Iraqi Kurdish graffiti artists –Bahman Salah (born 1994) aka RAGE. It is concluded that various forms of graffiti seem to be rather new in Iraq.
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In Hebron, both the Israeli settlers and the Palestinians have prevailing narratives, which besides negating the other side‟s narrative, justify their own presence in Shuhada Street – a street so conflicted, that it is usually deserted. Continuously, efforts are made towards re-opening Shuhada Street to Palestinians. A significant example of these efforts is the annual demonstration, where Palestinians using graffiti, write „Apartheid Street‟ – symbolically altering the streets original name. Shortly after, the graffiti is altered by the Jewish settlers who apply their own graffiti. Focusing on the use of visuals in Shuhada Street, this article shows how the study of graffiti can highlight tactics of resistance and conflicting understandings of space, while overall providing insights into the start-up of a Middle Eastern graffiti movement, developing especially after the 2011 uprisings.
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Translating the manuscript Sbath 254, containing an account written by the Syrian Maronite Ḥanna Diyab who was hired in 1707 as a guide and interpreter by the French royal explorer Paul Lucas (1664-1737), I have found previously unpublished confessions by Diyab concerning his visit to Versailles and his contribution to the most famous "translation" of the Mille et une Nuits (also known as The Arabian Nights), published by Antoine Galland. These confessions may be useful to shed some light on the following questions: 1) the position Diyab was about to hold in the Royal library of Louis XIV, 2) how he helped Galland to translate and add a dozen of tales to his 1001 nights, 3) why Galland managed to send him back home.
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The Egyptian Revolution of 2011 had among the common features of political popular expression in the public space the overwhelming presence of poetry to which Elliot Colla attributes a prominent role from the beginning of the uprising being not an ornament but a soundtrack contributing to the revolutionary act (Colla 2012:47). The political graffiti of Cairo, a cultural practice brought about and fueled by the revolution is not exempted, with poetry acting as the sound recorded by graffiti, transformed at the same time into a rhetorical device. This article will present an analysis of a selected corpus of graffiti featuring revolutionary imagery and fragments of poetry, focusing on the specificity of the re-appropriation of literary fragments used as elements of a revolutionary, contentious rhetoric, and the creation of an inter-textual topicality that transcends historical contexts. We will follow, at the same time, the relationship between poetry and graffiti in order to clarify the mechanisms of a lyrical dimension of Egyptian protest graffiti.
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The essay is a comparative analysis of the function and meaning of food in three novels dealing with shipwrecks and outcasts: Golding’s Lord of the Flies (1954), Tournier’s Friday, or The Other Island (1967), Coetzee’s Foe (1986). In Lord of the Flies food is reduced to two invariable, repetitive foods, fruit and pork, which represent two primary aspects of prehistoric human civilization, the gathering and hunting stages. Picking fruit is a benign activity, free of risks and immediate dangers, be it psychological discomfort. It is an Edenic pose, safe, with which, however, the boys will not be satisfied. We seem to be in the golden age of humanity, innocent, pure, ideal; a land of original promise populated by naive children. In the novel, fruits and fruit trees become a symbol of a Paradisiacal, non-conflictual age of human civilization, ideal and idealized, but insufficient for the species. However, the consumption of pork and, above all, the hunting of mammals will focus the attention of the protagonists, in a symbolic, antagonistic parallelism with the maintenance of fire. Jack discloses a natural inclination for the very act of hunting no matter what and wherefore. For him, meat, hunting are, in fact, simple pretexts, occasions or alibis for a disposition or a vocation specific to the human species, involuntarily stated by himself from the very beginning: “I thought I could kill”. The fact that all the children eat the pork, including those who remain formally faithful to the ethical and rational principles of human civilization, including Ralph after Piggy has been killed by the same hunters from whom the meat comes, is one of the undercurrent themes of the novel: to what extent even the purest, most idealistic, most cerebral, most well-intentioned can remain completely outside the darkness, forced by context and adverse circumstances to survive. The answer to the dilemma is implicit. In Friday, or The Other Island food is an arch-presence of the internal history of the novel, in an agglomeration bordering on gastronomic Epicureanism, to the lucid expression of the danger of satiety. Basically, the author presents us with the nutritious abundance of the island, configuring it in the data of the plentiful, sufficient Eden. References to food are extremely varied, frequent and diversified (as should be the nutrition that the fetus receives in the mother's womb, through her...). Robinson’s forager posture, reiterating the golden age of primitive mankind, will be firmly defined. But Robinson overcomes the stage of the primitive era and persistently emancipates himself in the position of the farmer. In the fifth chapter, the expression of a crisis already intervenes, the harvests become very poor due to the assiduous, untimely exploitation of the island by Robinson (the baby in the womb drains of strength the mother who shelters him). The excessively civilizing approach of the protagonist is the final point of the evolution of human culture and civilization in relation to the surrounding universe; it leads to its destruction through recklessness, intemperance. The saving solution is provided by Friday’s intervention, which brings back natural harmony to the island, restores the ecological balance between man and nature. Robinson’s entire evolution from hunter-gatherer to rapacious farmer is undone, Friday saving not only the island from destruction, but also the protagonist, the man as a species.In Foe food is not mentioned too often in the first part of the novel, and this is because, from the very beginning, we learn that it was not varied at all. Robinson has no explicit input in fishing, farming, gathering, cooking, as all these tasks essential to survival on the island are falling to Friday, sometimes helped by Susan. It is Friday who feeds and keeps both Robinson and Susan alive, not at all surprising. He reproduces in the diegesis the destiny of his race in relation to the white man. The overlooked supporting character is, in fact, much more. Overcoming the impasse of the creative act of the character Susan will be offered, presumably, by Friday, the one who knows best what to write, if only because he seems to have been the man who brought the water, the fire, the food.
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The academic discourse of criticism and theory of literature and arts has been promoting in recent years with great insistence quantitative computational analyses, based on the interposition between reader consciousness and textual consciousness of artificial intelligence. The current article, named after Franco Moretti’s distant reading, clearly indicates an alienation, through effective distancing, from the text read, which produces several direct consequences.The concepts of person and ideal, consciousness, personal consciousness and consciousness of the ideal – in the sense of major landmarks for the appreciation and interpretation of the text read – are deliberately marginalized or excluded from the discussion. Talking about the ideal is an action as reckless as it is necessary in our world. Through ideological-social discourse, legitimised and fed by the discourse of science and philosophy, modern man is driven towards a definitive alienation from his natural need for the ideal. Inherited teachings about the ideal are also quickly abandoned. On the other hand, art reflects realities and often anticipates them. In this essay, we would like to show that a simple analytical survey of the backbone of the representation of the ideal in artistic thought, seen in its historical consanguinity with philosophical and theological thought, reveals an unsettling dynamic of the vision of the ideal. Modern philosophical consciousness, especially after Kant and then Nietzsche, and the ideologies it has generated, are changing the original figure of the ideal to such an extent that today it is unrecognisable. Man is driven outside his own nature, but also outside the memory of the historical civilisations he has built. The perception conveyed by writers, artists and philosophers, especially after 1850, is that of a loss of the ideal. Unsurprisingly, this negative energy has given rise to an entire culture of the crisis of modernity which, without addressing the causes of the crisis, amplifies the crisis, justifies it and gives it, especially in the 20th century, an expansion which today breaks Western societies away from the claimed civilisational models: the Christian-Jewish model and the Greco-Latin model. What we propose is to point out a few more significant fragments of a very broad debate. And, finally, the analysis sends the reader towards the spiritual and discursive presence of solutions to the crisis of the ideal in the (apparently) anarchic combustion of our strictly contemporary culture. Posthumanists talk about the human species, and not about man, person, consciousness. They undifferentiatedly call all previous history traditional humanity and claim to leave it by so-called overcoming the conventional limits of human existence and traditional biological constraints. Post-humanist discourse calls for the abrupt redefinition of the human to justify the improvement of the 'human species' through technology. In fact, posthumanism reduces man to biology, matter and corporeality in order to legitimize the massification of people and their expropriation of their inherited civilizational memory, but above all of their own consciousness and their original need to live within the horizon of an ideal. The return to the consciousness of the ideal in artistic and philosophical thought is today more than a natural reaction to posthumanist ideological aggression. It is both a way of knowing inherited culture and a foundation for the culture of the present.
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The need for systematization in terms of post-war Romanian exile, felt by Romanian researchers of the phenomenon, produced, after 1989, some harmful generalizations. The post-war Romanian exile, especially the literary one, embodied by writers, is not a monolithic block. This is why I believe that in the coming period, the study of particu-larities, of what escapes the generally accepted schemes of exile, of what cannot be la-belled, should be privileged. In what follows, I will try to show precisely the power of reverberation of the literary word, through a quick entry into the work of Virgil Tăna-se/Tanase, a special figure of the Romanian exile. In a first stage, my contribution will highlight the writer's relationship with the Romanian exile, while the rest of the study will be devoted to an analysis of the novel Zoia, his masterpiece, in which the focus will be on the themes of exile and history.
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This is the fifths study in a series dedicated to analyzing the process of historicizing the horse in Native American cultures and it focuses on its representation in The Swift Blue One, a Tejas/Caddo story. The blue horse in this story is drafted as a synergistic coalescence of history and myth (it manifests spiritual powers in a factual context) and this allows the narrative to historically legitimize and mythically dimensionalize it. As the horse transfers meaning(s) from Spanish to Tejas culture, it also ensures a cross-realm navigation of representation(s), an approach consistent with the usual myth-historical background in Native American stories. Rather than trying to explain the historicization of the horse in Tejas culture, the story narrates what can be considered a precursory stage, that of the emergence of the first herds of mustangs – the Spanish horses that became wild and ran in herds, which, in their turn, would set in motion the incipient phase of historicizing the horse.
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The study deals with the problems of linguopragmatic description of virtual discourse. Particular focus is paid to the discursive activity of the participants of literary competitions who participate in discussions and evaluate each other's stories. Cooperative and confl ict interactions of commentators and authors of literary stories are characterized. A typology of communicative strategies in the virtual discourse of a literary competition is proposed, with a breakdown of those used by senders and recipients. It has been proved that the strategies of commentators gravitate towards a cooperative type of communication, while the strategies of authors in response to criticism trend towards a confl ict type of communication. The linguistic features of the the ways each group implements their respective strategies are traced, and the main tactics of their representation in the discourse of the virtual discussion of literary stories are determined. The illustrative material was collected from the transcripts of discussions at the Ukrainian-language fantasy short story competitions Litavytsia and RBZh Azimut for 2021.
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D. Dontsov fills Ukrainian journalism with various idioms, some of which are established in the language system (ancient, Latin, Ukrainian, and foreign expressions, etc.), others are partially known to the reader (partly author’s), and still others he creates himself, that is, they are author’s. The work aims to analyze various types of phraseology in the works of D. Dontsov, which is a manifestation of his original thinking. It is proposed to consider and introduce into the Ukrainian political style those author’s phraseology unknown to the recipients. The functional, informational- semantic, descriptive, discursive, contextual and observational methods were used in the article. The source base of the article is the 10-volume edition of the thinker’s heritage and separate printed works. D. Dontsov’s authorial phraseologisms form numerous microfi elds concerning the establishment of an independent state, ideology, demonstration of struggle and education of character. The study proves that Dontsov’s phraseology reproduces his extraordinary linguistic thinking and create the recognizable idiostyle of a great publicist.
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Quo Vadis, thanks to its plot structure, favours transformations – even into comic books, where the image of Christianity as an important aspect of the story is challenging to depict. It is therefore worth determining how religious issues are manifested in comic books related to the novel and how the culture in which they were conceived affected them. I reflect on the image of Christianity, recognising religion as a personal experience of each individual (W. James), especially one of love, forgiveness, and sacrifice. These values were given more attention by the Polish writers, and in both adaptations, the sequences and frames were formulated differently, they differed in terms of composition (different perspectives, plans, and use of text), and finally, both offered different interpretations of Sienkiewicz’s novel. The authors of the French adaptation read the book as a vibrant, adventure-history-love story, while the Polish authors saw it as a story dedicated to a moment in history in which one world ends and another one begins, as a new religion emerges. These interpretations confirm that culture plays an important role in how literary works are adapted into the comic book format.
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Z okazji dwusetnej rocznicy ukazania się na rynku księgarskim Ballad i romansów Adama Mickiewicza Sejm Rzeczypospolitej Polskiej ogłosił rok 2022 Rokiem Romantyzmu. Decyzja ta zainspirowała różnorodne środowiska do podejmowania licznych, artystycznych i naukowych, inicjatyw upamiętniających epokę, która w dziejach rodzimej kultury odegrała rolę kluczową, przyczyniając się zarówno do wypracowania zrębów wspólnotowej tożsamości i pamięci, jak i do ukształtowania się wyobrażeń na temat aktualności romantycznego kanonu literatury i sztuki. Powroty do tego dziedzictwa, nie tylko zresztą bezwarunkowo aprobatywne, stanowią zatem obligatoryjny niemal element polskiej debaty kulturowej, a uczczenie rocznicy wydarzenia, które zwyczajowo uważane jest za początek romantyzmu w Polsce, wydaje się w pełni oczywiste i uzasadnione.
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Due to the upcoming event of the bicentenary of the publication of Adam Mickiewicz’s Ballads and Romances, the Parliament of the Republic of Poland declared the year 2022 to be the Year of Romanticism. This decision inspired various circles to undertake numerous artistic and scientific initiatives to commemorate the epoch which played a key role in the history of our native culture, contributing both to the development of the foundations of collective identity and memory, and to the formation of ideas about the validity of the Romantic canon of literature and art. Returnings to this heritage, not only unconditionally approving, are therefore an almost obligatory element of the Polish cultural debate, and the commemoration of the anniversary of the event, which is customarily considered to be the beginning of Romanticism in Poland, seems fully obvious and justified.
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The article is an attempt to explore the vision of Russian history in Alexander Pushkin’s The Bronze Horseman. The key role in the poem is played by the figure of Peter I, who is shown as a despot on the one hand, and a bold visionary on the other. In The Bronze Horseman, Pushkin presents a suggestive image of the flood in St. Petersburg, referring to such problems as the clash between an ordinary man and history or the essence of rebellions and revolutions. Deciphering the meaning of individual motifs allows us to perceive Pushkin’s coherent and multidimensional historiosophical vision. The main conclusion of the article is the statement that Russian imperialism in The Bronze Horseman is shown as an organic element of Russianness, without which Russia could not have formed as a strong and modern state. Moreover, the poem can invariably be seen as a key to understanding the essence and vitality of Russian imperialism.
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The main aim of this article is to present the methods in which Slovenian myths of Romantic provenience, present in France Prešeren’s poetry, are deconstructed since the fifties of nineteenth century. Prešeren (1800−1849) is regarded as the national poet, who enabled the Slovenian community and competed with the canon of European literature. Parallelly to the process of his canonization occurred the reverse of it, The Anxiety of Influence, described by Harold Bloom. Poets Simon Jenko (1835−1869) and Oton Župančič (1878−1949) had been deconstructing the myths of Romantic love, mythical conception of poetry, poets and nation in the period of realism and modernism, as well as the poet Veno Taufer in the period of neo-avantgarde (1933−). The intertextual analysis of their poems shows several ways of contesting the influence of the main topics and aesthetic codes from Prešeren’s poetry, determined by the role of poetry in Slovenian culture, described in the late sixties of twentieth century as Prešeren structure.
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The paper presents poetically and politically conditioned changes in the interpretation of the literature of the Croatian National Revival period as “Romantic”. It indicates that these phenomena should necessarily be viewed in mutual (inter) action. It states that the Croatian National Revival, as a period that is most frequently demarcated by the years 1835 and 1848–49 in the so-called general historiography, is a necessary framework for the periodisation and understanding of the history of Croatian literature too. This framework does not exclude the necessity of including the concept of Romanticism in the study of Croatian literature of this period, which was strongly influenced by Romantic trends. And consequently it is a stage in a longer period of manifestation of Romantic features in Croatian culture and literature of the 19th century
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The paper is a sample of the author´s current intermedial research into the illustrations of Karel Jaromír Erben’s volume of ballads Kytice (1853). Visual transmediations of a literary pretext may be understood as interpretations sui generis: while illustrations reveal the individual attitude of the visual artist, the illustrated book bears traces of the conditions in which it was published. In case of a classical work such as Kytice, numerous illustrated editions inevitably reflect also the concept of cultural tradition in the period concerned. Relevant social, creative and spiritual problems and needs of the time may be projected onto the illustrations resulting in a meaning-making process related to and parallel to the textual one. The focus of this enquiry is expressed by the optical categories of colour, brightness, and contrast as related to the visual representations and traits of the pretext. Featured illustrators: Zdeněk Sklenář, Alén Diviš, Helena Konstantinová.
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In this paper I analyze one of the first collections of poems for children in the SCBM language, Niz dragocijenoga bisera ili Duhovne i moralne pjesme za djecu by Jovan Sundečić (Zadar 1856, Cetinje 1865). Although many have stated that it is one of the first original publications intended for children and young readers of the South Slavic area, there has been no detailed analysis of it until now. In the introductory part of the paper, I will look at the circumstances which led to creation of literature for children and young people, in the central part, through the analysis of Sundečić’s book, I will show why Romanticism in children’s literature inevitably intertwined with Enlightenment, and I will try to illuminate the socio-historical circumstances that led to the reprint. In the conclusion, I make an evaluation of the book from the viewpoint of Romanticism, as the period in which it was created, as well as the contemporary moment, which tends to mark the timeless literary qualities.
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