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Roxelane Imaginée : Étude Sur L’image Contemporaine D’une Sultane

Author(s): Özlem Kasap / Language(s): French Issue: 101/2020

As important figures of the Ottoman history since the 16th century Suleiman the Magnificent and his wife Roxelane, have become fundamental referents feeding societal imagery. This study focuses on the analysis of the ‘imagery’ of Roxelane; a woman who was able to hold power and attain a place in societal imagery in an age and setting where the role of women was extremely limited. A strong female archetype, a ‘ruler’ in an Empire where women did not rule and wield power, is created in the works studied through this imagery. The imagery associated with ‘strong females’ like Catherine de Médicis, Mary Tudor and Elizabeth Tudor who ruled their respective countries in the 16th century, has gained a distinctive place in social memory. The imagery has found a wide audience, especially in its manifestation in fiction. The following study uses J.J. Wunenburger’s definitions of imagery to examine the imagery of Roxelane and the ways in which it is recreated and re-used for differing functions in societal memory in two contemporary literary works.

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Joachim Wittstocks Erzählung Hades und ihre szenische Umsetzung als Carpatesca cum figuris

Author(s): Carmen Elisabeth Puchianu / Language(s): German Issue: 20/2020

Die wiederholte Beschäftigung mit Erzähltexten von Joachim Wittstock einerseits und andererseits mit dem performativen Charakter des Schreibens veranlasste uns im Rahmen der studentischen Theater AG (Die GRUPPE) ein komplexes Bühnenprojekt ins Auge zu fassen, szenisch umzusetzen und dreimal auf¬zuführen. Es handelt sich um die Aufarbeitung der Erzählung Hades in Form einer szenischen Lesung mit performativer Darstellung der Handlung in Verbindung mit dem Einsatz intermedialer Ausdrucksmittel. Der folgende Artikel fasst die wichtigsten Aspekte der Arbeit an dem Projekt zusammen und erläutert den Transformationsprozess vom epischen Text zur Bühnenperformance.

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Кто автор редакционной статьи «Желание» в первом номере «Гражданина» за 1873 год?

Author(s): Daria D. Buchneva / Language(s): English,Russian Issue: 2/2020

Two editors, namely editor-owner V. P. Meshchersky and editor-publisher F. M. Dostoevsky, wrote the editorials in the weekly "Grazhdanin" in 1873‒1874. The article is devoted to the attribution of the editorial article “Zhelanie” (“Desire”), published in the first issue of the weekly "Grazhdanin" in 1873. Researchers B. V. Tomashevsky, V. V. Vinogradov, V. A. Viktorovich attributed this article to F. M. Dostoevsky. The editorial board of the academic “Complete works in thirty volumes” argued that the note was penned by V. P. Meshchersky. I. Zohrab believes that “Desire” was written by V. P. Meshchersky and edited by F. M. Dostoevsky. The article conducts an examination based on stylistic and mathematical statistics methods. As a result of the comprehensive analysis of the text, both at the ideological (content) and linguistic level, the version of F. M. Dostoevsky’s authorship was rejected. A comparative analysis of “Desire” with the texts of Dostoevsky and Meshchersky and the conclusions made using statistical attribution methods allow us to recognize V. P. Meshchersky as the author.

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«Всегдашняя мечта моего мужа была о том, чтобы наши дети получили образование…»: гимназисты Люба и Федя Достоевские

Author(s): Alexey Dostoevsky,Natalia Shwarts / Language(s): English,Russian Issue: 2/2020

Dostoevsky's main concern was to educate his children, Lyuba and Fedya. After the writer's death, this desire was realized by his widow Anna Grigoryevna. Little was known about the education of Dostoevsky’s children, primarily from memoirs (penned by Anna and Lyubov Dostoevsky, Anna Ostroumova). The article presents previously unknown documents from the Central State Historical Archive of Saint Petersburg (name books, personal statements, etc.), containing information about the education of F. M. Dostoevsky's children: Lyuba — at the Foundry Gymnasium, Fedya — at the F. F. Bychkov Gymnasium (purchased by Ya. Gurevich in 1883). Letters related to the education of Dostoevsky's children were introduced into scientific circulation: Lyuba’s and Fedya’s to their mother, teacher V. Ivanova’s to A. G. Dostoevskaya. In the course of commenting on archival documents, the author emphasizes the continuity between home education and the education of the writer and his children, and reveals the role of A. G. Dostoevskaya in fulfilling Fyodor Mikhailovich's dream: to provide them with a quality education. Home education, first and foremost, the established tradition of family reading, which the Dostoevskys always heeded great attention to, allowed Lyuba to enter the gymnasium at the age of thirteen, bypassing two primary classes, and successfully reach the second, pre-graduation, class. Her classmates were A. P. Ostroumova (Lebedeva) and N. Ya. Polonskaya (Yelachich), who later became famous figures in Russian history. The education received at the gymnasium helped the writer's daughter to prove herself in literature during the years in emigration, to become a Russian writer in Italy, to represent the legacy of Dostoevsky in Europe, and to successfully conduct educational and cultural activities in Italy. The writer’s son Fedya, who studied at the St. Petersburg F. F. Bychkov Gymnasium in 1882-1889, entered the law faculty of the St. Petersburg Imperial University in 1890, became interested in horse breeding, and in the latter years of his life paid great attention to the preservation of his father's handwritten heritage. Thus, the children of F. M. Dostoevsky fulfilled his legacy: “Do not forget to study, both of you”.

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АКСИОЛОГИЧЕСКИЙ АНАЛИЗ БЫЛИН О ДУНАЕ И ПОТЫКЕ

Author(s): Arseny Mironov / Language(s): English,Russian Issue: 3/2020

Based on an axiological analysis of the bylinas about Dunay Ivanovich and Mikhailo Potyk, the article reveals a number of epic motifs which are interpreted as a semantic unity of the hero’s motivation, his deed, and its consequences. The article brings to light how the epic singer renders the spiritual laws connecting the motivation for a certain act with its consequences (i.e., the hero’s punishment and his subsequent penance or perdition); and formulates cognitive ethical meanings belonging to each of the bylina’s motifs. For each motif, the author identifies the following components: the hero’s particular moral weakness or passion which captures him, evoking thus, sympathy — or the so-called «compassion» — in the listeners; the moment when the hero is overcome by his sin; the moment of the crime; and the punishment as a natural consequence of the hero’s deeds. Also, the difference between axiological coordinates of every act — before and after its commission, in the evaluation of either the hero or the listener — is determined in the present paper. The motifs of the mentioned bylinas are classified here on the basis of their type and their involvement into parallel structures with similar motifs, or by the presence — or absence — of their antithetical counterparts. The result of the present study is a denial of the widespread theory according to which Russian bylinas should be described as «meaningless», as having controversial diachronous semantics, as damaged — in terms of the content — during their existence in this or that social milieu (peasant, skomorokh, minstrel or Cossack one), as presupposing allegedly «extraneous» and «recent» Christian concepts and ideologemes.

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ФАБУЛА БОГАТЫРСКОГО ПРОТИВОБОРСТВА В РУССКОЙ СЛОВЕСНОСТИ: ОТ «СКАЗАНИЯ О МАМАЕВОМ ПОБОИЩЕ» ДО «СУДЬБЫ ЧЕЛОВЕКА» М. А. ШОЛОХОВА

Author(s): Valentina Vasilievna Borisova / Language(s): English,Russian Issue: 3/2020

This article presents a historical poetics viewpoint on the artistic implementation of the heroic confrontation storyline. The purpose of this article is to identify patterns of its development, principles and methods of variability in such key works of Russian literature as The Legend of the slaughter of Mamai (ХV c.), the poem of M. Yu. Lermontov A Song about Tsar Ivan Vasilyevich, the Young Oprichnik, and the Valorous Merchant Kalashnikov (1837), N. V. Gogol’s short story Taras Bulba (1842), N. S. Leskov’s story The Enchanted Wanderer (1873), the essay of F. M. Dostoevsky Foma Danilov, the tormented Russian hero (1877), the story of M. A. Sholokhov Fate of a Man (1956). This story tradition has preserved its national and Orthodox “code”, and the important opposition of the main characters-antipodes has acquired the significance of an archetypal, pivotal situation mainly defining the features of the ethno-confessional originality of Russian classical literature.

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ЮРОДСТВО КАК ПОДВИГ ИСТИННОЙ СВЯТОСТИ В ТВОРЧЕСТВЕ РУССКИХ ПИСАТЕЛЕЙ XIX ВЕКА

Author(s): Natalia Zhilina,Tatiana Żylina-Els / Language(s): English,Russian Issue: 3/2020

The article studies the phenomenon of “foolishness-for-Christ” depicted in the works of Russian writers of the 19 century, e. g. A. Pushkin’s Boris Godunov, O. Somov’s A Fool-for-Christ, A. Ostrovsky’s Kozma Zakharyich Minin, Sukhoruk, L. Tolstoy’s Childhood. The novelty of the research is presented primarily in the use of an axiological method for analysis of works of fiction as well as in interpretation of characters in terms of theology which proves that a “God’s fool” is shown as a person of an inverse perspective. The characters cannot be considered as part of the joking culture and the game, their life is never divided into night and day time, inner or outerdomains. They exist in the realm of “foolishness-in-Christ” that proves that while living in this world they belong to a different one and obey another law. In the studied literary works all the “holy fool” characters are marked by deep spiritual involvement and apparent conciliarism. They treat people with childlike sincerity and unselfishness personifying, thus, the Christian ideal of the writers. In these literary works “foolishness-for-Christ” displaying traits of national mentality is presented as the avatar of Christian faith manifested in a complete denial of worldly life and values, the first of which is “the wisdom of the world” (1 Kor. 3:18—19).

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«МОЯ ИСПОВЕДЬ» КНЯЗЯ П. А. ВЯЗЕМСКОГО

Author(s): Lyudmila F. Lutsevich / Language(s): English,Russian Issue: 3/2020

My Confession (1829) of P. A. Vyazemsky, one of the most important historical, literary and autobiographical documents of the 19th century, has never been the subject of independent study. Its focus of attention is the period of the Prince’s civil service in Warsaw, which predetermined not only the formation of his ideas of liberalism and constitutionalism, but also the collapse of his career as a civil servant in 1821. The article makes an attempt to identify the main formal-meaningful constants of My Confession. As a result of the study, the immediate motif and reasons for the prince's resort to confession, his addressee, the main goal and discursive practices are identified. The author of the article states that My Confession does not contain religious connotations; its main content is the consistent presentation of events, facts, thoughts, feelings (in the form in which they appear in the mind of the Prince almost a decade later), as well as the exposure of the libels of ill-wishers and the restoration of a good name. It is noted that the general autobiographical confessional strategy of Vyazemsky determines both the author’s repentance of the political “errors” of liberal youth and the exposition / propaganda of liberal views due to active auto-citation; at the same time, the fundamental attitude towards veracity is combined with the so-called “Political correctness” (allowing conscious silence about certain events, facts, persons in order to avoid knowingly lying).

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СЕМАНТИКА И ФУНКЦИЯ АФОРИЗМА «ПОБЕДИ СЕБЯ И ПОБЕДИШЬ МИР» В ПРОИЗВЕДЕНИЯХ Ф. М. ДОСТОЕВСКОГО

Author(s): Antonella Cavazza / Language(s): English,Russian Issue: 3/2020

The repeated usage of the aphorism “Win yourself and you will conquer the world” in the works of F. M. Dostoevsky emphasized his words. Using different linguistic means the Russian writer compiled the message of a moral character striving for conveying it to his contemporaries, now with irony by putting it into mouth of Foma Fomich and Stepan Trofimovich Verkhovensky (the characters of the novels The Village of Stepanchikovo and its inhabitants and Demons respectively), now as an admonition by including it directly and indirectly into “The Life of a Great Sinner” and the novels Demons, The Brothers Karamazov and The Raw Youth. The dictum “Win yourself and you will conquer the world” echoes also on some pages of A Writer’s Diary, where an ethical and philosophical feature of Dostoevsky’s journalistic style manifests itself to the maximum. Modern researcher B. N. Tikhomirov has put forward a hypothesis that the saying “Win yourself and you will conquer the world” is based on quotations from the New Testament. The writer distilled this sententia from the writings of Saint Tikhon. The author of this article wondering who this aphorism belongs to and where it derives from, supposed and proved that it comes from the 57th sermon of St. Augustine or from the treatise “On the imitation of Christ” (“Imitatio Christi”) attributed to the Augustinian monk Thomas of Kemp. A copy of this treatise was kept in the library of Dostoevsky. After analyzing the hypothesis of B. N. Tikhomirov and her own assumption, the researcher has made both a philological analysis and the content one. As a result, she came to the conclusion that both these assumptions are possible and do not contradict each other. Given the fact that Saint Tikhon was well familiar with the writings of Saint Augustine, both these sources complement each other in the study of the aphorism? Win yourself and you will conquer the world”.

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«ВЫЯСНЕНИЕ ТАЛАНТА» В ПОЛЕМИКЕ Н. А. ДОБРОЛЮБОВА С Ф. М. ДОСТОЕВСКИМ

Author(s): Vladimir Aleksandrovich Viktorovich / Language(s): English,Russian Issue: 3/2020

The article analyzes the interpretation of F. M. Dostoevsky’s novel Humiliated and Insulted, proposed by N. A. Dobrolyubov in his essay Downtrodden people (1861). The interpretation of the images of Ivan Petrovich, Prince Valkovsky (an unknown source of his philosophy of egoism, La Rochefoucauld’s Maxims, is introduced into scientific circulation), Nelly is of particular importance, as well as the question posed by the critic about the main character of the novel. The mutual understanding between the author and the critic comes to an end when their axiologically opposed contexts of understanding come into force. The novel of forgiveness / unforgiveness is interpreted by the critic as the novel of downtroddenness / protest. Having discovered the energy of moral and social nonconformism in Dostoevsky’s novel, Dobrolyubov redirected it from the “native” moral and social channel to his own, social and moral, one. The essay of the critic who created his own version of the novel and writer’s previous works, thereby contributed to the aesthetic and ideological self-determination of Dostoevsky.

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«МАТЕМАТИЧЕСКАЯ» ПРОБЛЕМА В «ПОДРОСТКЕ» ДОСТОЕВСКОГО

Author(s): Yuliya N. Sytina / Language(s): English,Russian Issue: 3/2020

Dostoevsky’s novel The Raw Youth repeatedly refers a reader to mathematics. This fact favors analysis and interpretations of the “mathematical” problem in the novel. Mathematics as an exact science is for Arkady Dolgoruky the main guarantor that his idea of becoming a “Rothschild” is achievable and true. This idea is based on “mathematics”, as it involves the calculation of income. “Mathematical validity” is authoritative for Kraft and other members of Dergachev’s circle,as well as Stebelkov, Lambert, Olya. The plot of the novel is based on “mathematical validity”. It is Katerina Nikolaevna’s fateful letter. The idiom “as simple as twice two makes four” appears six times in The Raw Youth. The debunking of this formula is a characteristic motif for Dostoevsky’s work. The motif of vulnerability of “mathematics” increases with the development of the plot. The Raw Youth’s “mathematical” idea collides with his feelings and impulsive actions. The “mathematical validity” turns out to be irrational. It basis is not logic, but conviction. The opposition to “mathematics” and rationality is “living life” in Dostoevsky’s work. It contributes to the rebirth of Arkady Dolgoruky. He evolves from Rothschild to Christ, from accumulation to self-sacrifice, from Law to Grace.

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«ОСТАНЬСЯ ПЕНОЙ, АФРОДИТА…» (ЛИРИЧЕСКОЕ «ОНА» В СТИХОТВОРЕНИИ ОСИПА МАНДЕЛЬШТАМА «SILENTIUM»)

Author(s): Josip Užarević / Language(s): English,Russian Issue: 3/2020

The article approaches the problem of the correlation between the lyrical persons “I”, “You”, “She” in the poem Silentium by Mandelstam. Special attention is paid to the difference between the lyrical “She/It” (the original muteness, the first principle of life) and the lyrical “You” (the word, the heart, Aphrodite). The composition of the poem is remarkable for its mirror symmetry, both in terms of sound organization and semantics. The main idea of the poem is a return to the “first principle of life” through the acquisition of “initial muteness” by the lyrical “I”. In this situation, poetry turns out to be both paradoxical and transparadoxical reality, since the demand for “silence!” is implemented by means of the language (word).

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«ХИВИНКА» С. Н. ДУРЫЛИНА: ПОЭТИКА СКАЗА

Author(s): Evgeniya Korshunova / Language(s): English,Russian Issue: 3/2020

The article analyzes the previously unexplored story of Sergey Durylin Khivinka (the story of a Cossack woman) (1924), written by the author in Chelyabinsk exile. The story is written in a narrative manner inherent in literature of the 1920s. Durylin, who is least oriented towards the Soviet everyday life, who is invisibly and silently arguing with the literary majority, creates an artistic image of a woman of the 19th century descending from common people, a Cossack woman, who was captured by the Khivins, based on historical facts recorded by N. K. Bukharin. The article takes into account the literary sources the author built his work on: A Journey Beyond the Three Seas by Afanasiy Nikitin and The Enchanted Wanderer by N. S. Leskov. The clearly expressed Easter archetype of “A Journey” of the story of Durylin outlines the vector of an axiological path of the heroes — the pilgrimage toward Easter, marked with their return to home. Using the poetics of a tale, the writer draws focus primarily toward a narrative manner of N. S. Leskov with its usual confessional character. On the basis of memoirs, it is stated in the article that the writer’s wife, Irina Alekseevna Komisarova-Durylina, to whom this story is dedicated, became the prototype of Khivinka.

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Chłopcy w za dużych mundurach. O męskich wspólnotach w wojennej prozie Józefa Czechowicza

Author(s): Jakub Skurtys / Language(s): Polish Issue: 38/2018

The article is an attempt to present different modalities of men’s communities in Józef Czechowicz’s short prose texts, which were created many years after and on the basis of his experiences during the Polish-Soviet War of 1919–1921. The author partly refers to Czechowicz’s biography and some memories of him, and also uses the concept of “homosocial desire” and Georges Bataille’s anthropologic theories. He aims to describe a wide spectrum of Czechowicz’s after-war fantasies about male bonds: brotherhood, fictional in-war family model (with a subconscious search for a symbolic Father), friendship and homoerotic partnership.

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О «РЕАЛИЗМАХ» (РАССКАЗ О. Н. ОЛЬНЕМ «ТИХИЙ УГОЛ» И ЛИТЕРАТУРНЫЕ ВОСПОМИНАНИЯ С. Н. ДУРЫЛИНА «В РОДНОМ УГЛУ»)

Author(s): Gennady Karpenko / Language(s): English,Russian Issue: 3/2020

The article studies and compares various possibilities of Russian classical realism, it reveals and describes the features of constructing images of the world in the works of O. N. Olnem (V. N. Tsekhovskaya) and S. N. Durylin. The pictures of the world by Olnem and Durylin are limited mainly by the manor topos. Localization of the events within the manor space is the key for the presence of the same objective and spiritual realities in the analyzed works, nevertheless, distributed and correlated differently. While the “narrative levels” in Durylin’s memoirs (subject, functional, socio-historical, subjective-personal, cultural-historical, Christian ones) are value-coordinative and the Orthodox determines theoanthropic “verticality” of the estate world, in Olnem’s description all the “estate elements” are coordinate and exist in the horizon of a personal or social event, they are factographic, only psychologically and / or socially colored, and the “Christian event lasting in eternity” loses its world-organizing function and is present as a formal rhetorical tradition. The difference in the actualization by Olnem and Durylin of the value of narrative levels is expressed in the implied meanings of the name — A Quiet Corner, In the Home Corner. The writers relate the “Manor Corner” to silence. However, if for Durylin the “quiet”, “silence” is a spiritual complex that expresses the Christ-like essence of a person, for Olnem, silence is a socio-historical category, designed to mark semantically the process of disappearance of the “noble nest,” silence as a synonym for death. Thus, no matter how close the work of the writers came together in substantive content, no matter how similar and related they were, the “watershed” separating them, in the words of V. V. Rozanov, turns out to be the “attitude to faith, God”. This difference determines the existence of different "realisms" in Russian literature and, consequently, of different reading and research strategies.

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О ПОЛЬЗЕ РУССКОЙ ЛИТЕРАТУРЫ ЗА ПРЕДЕЛАМИ РОССИИ

Author(s): Rita Giuliani / Language(s): English,Russian Issue: 3/2020

The idiom “twice two is four” along with its variations is seen in the article as a marker of the situation of an “underground man”. In literature of the twentieth century the “underground” in its ethical and philosophical aspects has expanded its meaning, becoming the context of a utopian and antiutopian thought, absorbing the tragic experience of Russian culture after Dostoevsky. Of course, the widespread locution “as sure as twice two is four” does not always point at this variety of meanings, but it can be reached only in combination with the psychological type of the “underground man”. Thus, the image of Stalin in the novel “the First Circle” by Alexander Solzhenitsyn is considered as a variation of the “underground” consciousness. The problems of philosophical, history related to the evolution of this type of consciousness and actualized in this novel, remain important for modern literature. Another version of this philosophical collision is given in Victor Pelevin’s anti-utopian novel “S.N.U.F.F.”. In both of these cases, the situation of the underground person becomes a picture of a psychological and historical catastrophe. The negative development of the analyzed arithmetic formula in Russian literature of the 20th century encourages to look for another pole of tradition outside the “main” cultural domains. One of the variants of a moral escape from the trap of the “underground consciousness” can be found in the poetry of Alexander Bashlachev. The mythopoetical plot of the song “Verka, Nadka, Lyubka” is an exceptional variant of the development of the “underground man” topic. A starting point of the plot is just the formula “twice two is four”. The genre shift from lyricism to allegorical epic gives the poet an opportunity to reconstruct the Easter ideal of Russian culture, even if in a tragic and provocative form, close to the tradition of Russian foolishness for Christ.

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Storytelling as a communication tool for establishing an organizational culture focused on changes in sport organization

Author(s): Ivanka Gajić / Language(s): English Issue: 1-2/2020

The concept of organizational culture as a context in which information, ideas, beliefs and ideologies of different organizations are exchanged, in which there are also political changes, is in the recent years receiving more attention, both in theory and in practice. More attention is paid to the skills and abbilities of the organizations to make changes in order to provide internal coherence, identity and image communication and the expected outcomes. The economic sustainability, which is difficult to predict, is more easily provided if the organization has culture directed towards changes and if storytelling techniques are used to communicate the changes. Among other things, this led researchers and practitioners to direct themselves more to the study of the influence of the organizational culture and storytelling, as a communicational technique, to the organizational sustainability and changes. We believe that the most efficient and economical way for making organizational changes, and creating changes of the oriented organizational culture is by storytelling as a communication tool.

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The Parallels and Differences between the Urban and Country Ways of Socializing in the Worlds of Jane Austen and Helen Fielding

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The Parallels and Differences between the Urban and Country Ways of Socializing in the Worlds of Jane Austen and Helen Fielding

Author(s): Katarína Brziaková / Language(s): English Issue: 25/2020

This paper focused on several aspects of life in Great Britain. I wanted to concentrate chiefly on two important points. Firstly, I tried to find and compare the differences in lifestyle and related entertainment in the country villages, towns and cities in the early years of the nineteenth century which I perceived as largely dominated by deeply rooted traditions and strict social norms. As the basic source for my research I selected some of Jane Austen’s novels as they serve as real social chronicles of her times. Secondly, I did a similar analysis and comparison of the same aspects at the turn of the twentieth and twenty-first centuries as they were reflected in Helen Fielding’s novel Bridget Jones’ Diary. I thoroughly analysed and compared the aspects of life, the habits, norms, rules and views, class affiliations, the snobbery, vanity and conceit of middle and upper classes in Britain in the nineteenth and twentieth centuries. The findings, based mostly on the strictly observed and applied rules of socializing showed that no matter what century we live in now, nothing much has changed between Austen’s and present times when speaking of social rules, norms, class distinctions and equally importantly – position of women.

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The Indian Social Novel in English: A Neo-Victorian Encounter

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The Indian Social Novel in English: A Neo-Victorian Encounter

Author(s): Carmen Escobedo de Tapia / Language(s): English Issue: 25/2020

The influence of the Victorian on postcolonial Indian narratives in English dates to the 1930s with the Founding Fathers: Mulk Raj Anand, Raja Rao and R.K. Narayan. There is a clear development of the Indian social novel that emerges in the Gandhian era to the connexions with the Victorian, underlying the relationship between neo-Victorianism and globalization. It is the aim of this article to highlight a Dickensian pervasive presence in the first stages of Indian narratives in English, specifically the Indian social novel. I will establish a comparative approach between Dickens’ celebrated novel Great Expectations (1860-61) and Coolie (1936) by Mulk Raj Anand, the social Indian writer par excellence. I suggest a neo-Victorian encounter framed within a colonial/postcolonial encounter, making explicit how different historical processes – late eighteenth-century England and the Gandhian era in India – cause a similar social impact on so different contexts. Mulk Raj Anand adapts and appropriates the Victorian in Coolie, showing deep social concern and claiming against social evils, injustice and hypocrisy in India. This analysis stands as a transcultural exercise that shows Dickens’ universal scope regardless of time and space.

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“Stumps Folded Into a Fist": Extra Time, Chance, and Virtual Reality in Bruno Schulz

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“Stumps Folded Into a Fist": Extra Time, Chance, and Virtual Reality in Bruno Schulz

Author(s): Sven Spieker / Language(s): English Issue: 02/1997

It is often said that two of the defining notions of European modernism are its favoring of time over space and its proneness to represent spatial relationships as if they were temporal ones, rather than vice versa. If this is an accurate assessment, Bruno Schulz is a modernist par excellence. Within modernism, we may distinguish between an "abolitionist" attitude toward time (the avant-garde and its effort to outpace history) and a relativistic attitude (Thomas Mann, T. S. Eliot). This second group of modernists does not (or not necessarily ) share the antihistorical iconoclasm of the avant-garde. Instead, it relativizes human history by placing it in the broader context of universal myths; the historical fact is not liquidated in the sty le of the avant-garde, even though it loses a good deal of its erstwhile autonomy. [...]

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