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The paper aims to show that in his prose oeuvre, Matoš appropriates the typical fairy tale elements, unifies different fairy tale traditions and adapts them pursuant to the symbolist poetics in order to create his own variation of a modernist literary fable (Kunstlermärchen).
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The article describes the intrusion of the previously “invisible” black Stranger into the “white” discursive space. It further shows how this phenomenon was represented in the mainstream American novel of the 1960s and 1970s. The author analyses three works: Mr. Sammler’s Planet by S. Bellow, The Tenants by B. Malamud, and Rabbit, Redux by J. Updike. Here, the black intrusion into the “white language” is observed in threes spheres: symbolic, aesthetic, and ideological. This contamination of white discourse causes fear and rejection, but, at the same time, it brings fascination with Afro-American – a dangerous Stranger. Eventually, the novels confirm the reflection by Toni Morrison: since American literature is unmistakably a product of the dominant culture of whites, it therefore, becomes invariably connected with Afro-American presence in the United States.
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Wątki gnostyckie są obecne w twórczości Czesława Miłosza od wczesnych katastroficznych Trzech zim (1935), aż po ostatnią summę – Traktat teologiczny (2002). Na tym tle szczególnie interesująca wydaje się porzucona i niedokończona, wydana dopiero w 2012 roku, powieść science fiction Góry Parnasu. W artykule staram się pokazać, że źródłem dystopijnej kreacji powieści jest przede wszystkim myśl gnostycka. Z diagnozami gnostyckimi związane jest wielokrotnie przywoływane w niedokończonej powieści poczucie wielowymiarowego wyobcowania i osamotnienia człowieka, ból i cierpienie, jakiego zaznaje w obcym świecie, w którego strukturę wpisane jest zło i okrucieństwo. Z jednej strony Góry Parnasu są przerażającą antymodernistyczną wizją o znamionach ostrzeżenia i przestrogi, z drugiej to skrajnie pesymistyczny, futurystyczny obraz rozpoznania „kamiennego porządku świata”.
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Zadie Smith’s latest novel, NW, presents a multiverse in which multiplicity is driven into homogeneization by the forces of those dominant discourses that attempt to suppress the category of the “Other.” This paper focuses on the development of the two female protagonists. Their opposing attitudes towards motherhood, together with their confrontation with their origins, bring to the fore the performativity found in the discourses of gender, sexuality, class, and race. Thus, this paper will explore authenticity and performativity in a contemporary context, where patriarchal and neocolonial discourses still apply.
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The article deals with the phenomenon of a literary prize. Awards as an influential institution of the literary life in many aspects determine the range of reading, the policy of publishing and literary translation and the development trends of literature, and form a circle of "fashionable reading." The article presents the exclusive answers of the contemporary writers.
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The article analyzes a folk ritual named az-Zār, widespread in Egypt to the present day, and its fictional beings – jinn and sayyids. The paper is a result of the author’s immediate observations of several years in this country. The article describes the proper ritual, the characters performing the ritual, the fictional characters, who are believed to exist in the parallel universe and have invisible relations with human beings, as well as some texts of az-Zār ritual and a reflection of this ritual in literature, which to a certain extent indicates the role of az-Zār in the Egyptian society.
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Translation: Zinaida Hippius, „Vii și morții (printre morți)”, translation by Răzvan Tănase
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Translation: Leonid Andreev, „Valia”, translation by Lorena-Giorgiana Heredea
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The current chapter constitutes the second segment of a study dedicated to intellectualist prose in Romanian literature. This exploration delves into the evolution of this authorial perspective across various literary periods. The initial part of the study, featured in a previous issue, outlined important points in defining this perspective and scrutinized pre-modern as well as modern manifestations of intellectualism. In the ongoing study, attention is directed towards exploring the forms of intellectualism prevalent in the post-war period. This involves an analysis of literary works from Romanian neo-modernism and post-modernism. A distinction is drawn between analytical and ludic intellectualism, each exhibiting distinct dominances. Consequently, the narrative procedures are utilized to showcase the transition from one paradigm to the other. Moving beyond contemplative knowledge, literary experiments are employed in an attempt to shift towards a different mode of understanding. This shift entails abandoning old literary illusions and conventions, thereby paving the way for a novel approach to knowledge.
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In this work, we are interested in the concept of autofiction and its evolution. We begin research starting from the Lejeunian conception of autobiography, then we intend to study autofiction from its appearance in the work of Serge Doubrovsky to its manifestations. This approach will allow us to explore the way in which various definitions of autofiction are revealed both by these authors’ literary work and by theorization.
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This approach explores the concept of narrativizing urban space and how it can influence the architecture, culture and identity of a community. Narrativization means the process of transforming an urban space into a coherent and meaningful story that can be experienced and understood by its inhabitants. The study builds on recent research in the fields of narratology, urbanism, sociology, anthropology and psychology, highlighting the importance of narrative development and revitalization of cities. First, the narrative of urban space can help create a strong identity for a community by promoting local values, traditions and history. Through the story of urban space, residents can develop a sense of belonging and attachment to their city. Secondly, narrative can be a powerful tool for revitalizing and transforming abandoned or outdated urban spaces. By creating interesting and captivating stories, these spaces can become tourist attractions, cultural centers or meeting areas for the community, thus contributing to the economic and social development of cities. The subject is part of the current scientific discussions, which have been strongly manifested, in the last three decades, around four cores: “the spatial turn”, “the narrative turn”, “the urban turn” and “the cognitive turn”. Thus, in the investigation of the city as a text, the approach respects two principles of postmodernism: the principle of juxtaposition and interdiscursiveness.
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The image of femininity has become a subject of great interest for new directions of research, being the main concern of feminist literary studies. From the very beginning, science-fiction literature has promoted the female character as being degraded, inferior to males, devoid of essence, objectified, and so on, and with rather physical qualities (best illustrated in the cinematic arts). However, there is also an atypical role for the universal pattern of female character construction: the Amazon Woman. With a well-rooted origin in Greek mythology, the Amazon Woman represents a strong, independent, brutal, and cruel female character against the male species. Although it seems a reassessment of the woman’s status to that of a man’s, she is mostly interpreted as the "male woman", lacking femininity, and insensitive. Sebastian A. Corn emphasizes this feminine hypostasis in his novel Vindecătorul. Thus, the present work follows the peculiarities of the construction of the Amazon Woman character in this Romanian novel and correlates it to gender stereotypes and its representation in mythology.
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În 29 iunie 1918 apare primul număr din ceea ce urma să fie ultima serie a Literatorului. Privind retrospectiv, relansarea revistei înființate de Macedonski cu treizeci și opt de ani în urmă, în ianuarie 1880, e un eveniment remarcabil. Ea dovedește obstinația și energia poetului ce a crezut în geniul lui ca nimeni altcineva. Literatorul își întrerupsese aparițiile în 1904 (deși în editorialul din 1918 Macedonski scrie că „și-a încetat aparițiuneaîn 1905“, completînd orgolios: „pentrucă nu mai avea cui vorbi“), dar, obiectiv vorbind, ea intrase în moarte clinică încă din secolul anterior, supraviețuind prin apariții sporadice doar grație îndîrjirii directorului ei: în 1904 apăruseră doar două numere, precedate cu patru ani înurmă de un număr unic pe anul 1900. Iar acum, la finele Primului RăzboiMondial, istorica – și bătrîna – revistă reapare cu un nou avînt.
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The beginning of avant-garde movements in cinema was given by the emergence of German Expressionism. The theme of the supernatural, the marginal, and the monstrous, perpetuated in the black-and-white aesthetic framework by the filmmakers of the Weimar Republic period, directly influenced a particular moment in the work of a small circle of Bulgarian writers who formed the avant-garde literary movement of diabolism. Through the process of metamorphosis, this meeting of the avant-gardes created mythologies in two sign systems, cinema and literature.
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The Serbian word nigdina is used to depict the concept of place that could be described as nowhere in English. It is a term that originally means some distant, unknown and undefined land. It is derived from the spatial adverbial determiner “nowhere” and is used as a categorical designation of physical space that includes expressions such as “wasteland”, “wilderness”, “no man’s land”, “no man’s land”, “no man’s land” and the like. It appears as a place or space without legal, ownership or cultural identity, most often without people, in American fiction, but one that holds the capacity to have a transformative effect on the people who find themselves in it. Its use connotes human absence in a physical and symbolic sense. This term has a symbolic transformative capacity to the extent that it can denote changes in human society, but also the internal change of people themselves. It is categorical opposition to the notion of human habitat, but it cannot exist without referring to that notion.
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The purpose of the present paper is to compare Virginia Woolf’s and Graham Swift’s essays, On Being Ill and Santa’s Clinic, respectively, in order to discover a new type of essay, from a formal point of view. These two essays selected for thorough analysis are not the usual, realistic, argumentative essays. Apparently, both argue in favour of their opinions on fiction and its relevance to the readers, but this meaning of their essays comes at a second level, which is the result of the deepening arguments and of the readers’ interpretation. Both essays start reflections which lead to this deeper level interpretation from the subject of illness, in general, in Woolf’s essay, and from the specific case of the polio vaccine, in Swift’s essay. The genre to which these essays belong can be seen as a mixture between argumentative essay, personal opinion essay, diary writing, free associations method from psychoanalysis, and metafiction, or writing about the very process of writing.
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Among all the stylistic procedures that originally mark Eminescu's creation, the symbol occupies a distinct place, through that it puts into a productive relationship the reader with the text and, through this, with the author. The light, as central symbol, it combines various dimensions of the creative thought and, that is why, it knows various aspects. Selenar poet by excellence, Eminescu proves himself, especially in the pages of his prose, an artist of solar hegemony too, to which he associates the meaning of becoming. From the rising of the Sun to its setting, the bright symbol proves himself less of a decorative element and more of a form of mirroring the existence in different action and emotional states.
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Essay by Robert ŞERBAN - "The Predictible Passenger's Plans". Essay by Radu Pavel GHEO - "Holy Impudence"
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