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The consideration of irony here is established through several relations in the text: the irony between the characters, the irony the narrator uses in relation to the characters, the author’s irony in relation to the narrator and the reader. Nevertheless, very rarely is it one-way irony: the interpretation of one of the stories from „Early Sorrows“ by Danilo Kiš or some paragraphs written by Krleža and Crnjanski, are used with the aim of shedding light on relations where irony is being established, as well as its function within the text. The so-called ironic deflection gains a special attention here, and so do the direct and indirect irony. Since it is impossible to provide a universal pattern for irony detection, this text serves as a guide for detecting some of the mechanisms that can be used to create on-the-spot irony, which could prove useful for teachers in terms of adopting certain tools for recognising and including irony in the interpretation of the text. Further analysis can also reveal how irony can have to do with the author’s view on life and the world, in general.
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„2001: A Space Odyssey by Arthur C. Clarke“ (another obligatory reading for the eighth graders) is interpreted with a special emphasis on the connection between the book and its film adaptation by Stanley Kubrick. One of the biggest challenges for a teacher is to run a parallel analysis of the movie and the book and to point out the similarities, as well as the discrepancies (especially that of Clarke’s decision to be involved). The interpretation suggests a couple of discussion topics for literature classes, explaining that this kind of reading can serve as a starting point for talking about important issues such as technology, robots and people, environmentally irresponsible behaviour, science and ethics, curiosity as such and the exploration of the unknown – in other words, delicate issues which can be brought into the context of our civilisation, and literature classes, in general.
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U prikazu knjige "Conditio moderna" Manfreda Franka naglašen je njen odnos prema duhu vremena u kojem je postalo moguće da se sve i svašta kaže o svemu i svačemu.Njemački filozof ističe da je tumačenje postalo toliko liberalizovano da je svako u svako doba mogao dati bilo koje značenje nekom znaku. Mjerilo za ono šta je pogrešno a šta ispravno, šta je bitno a šta nebitno, šta je solidno analizirano a šta je puko brbljanje, nestalo je. Frank se zalaže za tezu da znaci moraju imati minimalni semantički identitet. Na kraju prikaza Frankov koncept se smješta u kontekst časa književnosti, jer je interaktivni proces autor-nastavnik-učenik savršeno polje za isprobavanje da li svi ostali konstituišu tekst kao ja, što je glavni Frankov kriterij u konstituciji značenja teksta.
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Nonsense and humour are two cognitive and linguistic phenomena that frequently overlap.The focus of this article falls on chosen instances of humorous nonsense poetry, targeted atEnglish-speaking children, which contains verbal and visual modes of expression.Formal sources of nonsense-creation in natural language can be several, among otherssemantic anomaly, syntactic ill-formedness and structural ambiguity, phonetic andgraphological experimentation.The interplay of nonsense with the visuality of the text in children’s poetry assumes threedistinct forms: 1) visual poems, 2) multimodal texts, where illustrations, often nonsensical andfunny in themselves, support the verbal text, and 3) texts based on the phonetic play. Exampleswill be drawn from the classics of the Anglophone children’s poetry: Mother Goose, theVictorian classics L. Carroll and E. Lear, 20th century British and American poets – L. Hughes,e. e. cummings, T. Hughes, J. Agard, as well as the Polish-British pair W. Graniczewski and R.Shindler.In all the poems to be analysed multimodality has an important role to play in the creationand strengthening of the effect of humorous bisociation/incongruity. A tight intertwining of thephonetic, semantic, and visual layers in such texts becomes an additional challenge for theirtranslators.The theoretical keystone for our considerations remains Henri Bergson’s study Laughter(1900/2008), which deftly combines the superiority, the incongruity, and the release theory ofmodern humour studies. Bergson rightly links the sources and effects of the nonsensical andthe comic to the notion of game/play and to the idea of dream-like illusion they create.
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Sebîlürreşâd, one of the most important publications of the Ottoman printing history and Islamist literary magazines, is also a long-standing journal that stands out with its productive writers who shaped the intellectual life of the period. The staff of Sebîlürreşâd consisted not only of reporters whose life and intellectual productions have been studied but also those whose life and literary works have remained unrevealed. S.M. Tawfiq is among the latter. In the literature, S.M. Tawfiq, who is known for his articles published mainly in the Sebîlürreşâd journal under the heading Letters from India was actually an active journalist who is important in terms of the II. Constitutional era Turkish press as well as the Farsi press which published simultaneously in Istanbul. In new studies carried out over a century after the period in which the visibility of the Ottoman press disappeared, light has been shed on S.M. Tawfiq's life which has remained in the dark until now to reveal that his career was not limited to Sebîlürreşâd or Letters from India which have been frequently cited in the related literature but includes an important rich collection that he has devoted his life to. This article has been prepared to establish an independent bibliography for the various articles of the reporter whose full name was Sayyid Muhammad Tawfiq Hemedanî and who used the signatures of S.M.T. [.ت. م. س ] and S.M. Tawfiq [فوت ی ق. م. س ]to sign his hundreds of articles which were published in various periodicals of the II. Constitutional era and his original books, the contents of which are very interesting.
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Review of: Monika Browarczyk.Narrating Lives, Narrating Selves:Women’s Autobiographies in Hindi,Poznan–Krakow: UAM & Księgarnia Akademicka, 2019, pp. 298. Review by Sanjukta Das Gupta
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Review of: Gil Ben-Herut.Śiva’s Saints: The Origins of Devotion in Kannada According to Harihara’s Ragaḷegaḷu. South Asia Edition. New Delhi: Oxford University Press, 2018. pp. 296. Review by Suganya Anandakichenin (Universität Hamburg, Germany)
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Review of: Chettiarthodi Rajendran. Eco-Aesthetic Studies in Kālidāsa. pp. 48. Beau Bassin: LAP Lambert Academic Publishing, International Book Market Service Ltd. 2018. Review by Lidia Wojtczak
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People have always tried to master memorizing - a factor playing an immense role in the circulation of Indian literature. To commit to memory seemed to be one of the characteristics of educated people, the source of knowledge and respect. Literary riddles were a great tool for shaping and sharpening the mind. As multi-leveled exercises they engage different parts of the brain in the process of memorizing. Dharmadāsa’s work, Vidadghamukhamaṇḍana, “The Ornament of the Wise Man’s Mouth” (ca. 11th century), served as a manual helping to enhance cognitive skills. Bandhas, visual forms included in Vidadghamukhamaṇḍana combined with other literary riddles, create complex enigmas, pushing minds to the limits and forcing those who accept the challenge to unveil multiple layers, denotations and connotations in the text. The readers/listeners stretch their abilities to solve the riddles set by the author, who has crossed the boundaries of poetical compositions and rules concerning the creation of visual forms in Sanskrit literature. Bandhas of this kind play an important role in the history and development of Indian visual poetry. Their unique character and function allow us to distinguish a coherent trend in the tradition of Sanskrit citrakāvya.
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Mark Mason’s book about London documents the author’s urban odyssey - his ten London walks undertaken with the aim of finding the capital’s soul. The narrative key to Mason’s description of London is geographical space. He walked the entire length of the Tube - overground, finding the shortest routes between each station. My paper is a proposition of negotiated reading of this journey. Instead of following the author to the sights along his walking routes, I focus my attention on his chance meetings with the people of London. Mason defines London as “the best human zoo”. I explore conceptual similarities between his metaphorical human zoo and real-life 19th and 20th-century ethnic exhibitions.
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This article analyses Jack Womack’s Random Acts of Senseless Violence from the perspective of criminological research focusing on the correlation between criminality and the environment, i.e. the particular areas where either criminals reside, or where the crimes are committed. The ideas of the ecological school of criminology (the Chicago School), especially the studies by Shaw and McKay and their predecessors, and the so-called “Broken Windows” theory by Wilson and Kelling are introduced. The paper shows that the neighbourhoods depicted in Womack’s novel might be seen as models exemplifying, albeit in a rather extreme manner, the processes presented in the aforementioned theories. This article demonstrates how the link between high crime rates and the social disorganisation of communities inhabiting specific areas may provide a possible explanation for the drastic transition of the novel’s protagonist into a violent criminal.
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This article focuses on William Gibson’s short story “The Gernsback Continuum”, and its reading that may be arrived at through the employment of hauntology. Gibson’s story happens in cityscapes of the American Southwest - its urban areas are turned here into a site of struggle between the disillusioned present and the ever-recurring visions of a glorified future. Among the problems tackled by this article is the nature and history of Art Deco architecture and design of the 1930s, the expectations that the Americans of the 1930s had for the future, and the influence that the surviving relicts of the bygone period still exert on the urban dwellers. This article presents hauntology as a theory capable of producing a captivating reading of the story based on the works of Jacques Derrida, Mark Fisher, and Andrzej Marzec.
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The aim of this paper is to scrutinise the influence of teaching on the female identity of Anna Vorontosov, the protagonist of Sylvia Ashton-Warner’s Spinster. Kristeva’s theory of the semiotic and the symbolic is referenced to argue that the work of a teacher enables the heroine to transcend the patriarchal model of experience, predicated on rationality, self-restraint and stability. Through teaching, Anna renews her bond with the semiotic, surpassing the bounds of a unitary and fixed self. After providing an overview of Ashton-Warner’s own career in education, the paper analyses the tensions inherent in the role of a female teacher as represented in the novel and explicates them in Kristevan terms. Subsequently, detailed attention is paid to how the peculiarities of Anna’s teaching method contribute to her enhanced experience of the semiotic and shape her female self.
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Vorliegender Beitrag untersucht inwieweit körperliche Aspekte in den deutschen Volksmärchen aus der Sammlung der Brüder Grimmhandlungsrelevant sind und wie ihr symbolischer Gehalt erschlossen werden kann. Es wird kurz auf die verschiedenen Interpretationsansätze eingegangen, wonach einige der für das gegebene Thema geeigneten Märchen besprochen werden. Es geht um körperliches Aussehen als Begründung für Gefühle wie Liebe oder Ablehnung, um nicht der Norm entsprechende Körper, um Verwandlung in einen Tierkörper und zurück und um die körperliche Überwindung der Grenze zwischen Leben und Tod.
More...comic portrayals of childhood in French fiction
That children amuse can scarcely be denied, but on what terms they do so is an open question, as dependent on stimulus as on response. When a child paints a picture, one’s reaction may be to laugh derisively at their ineptitude, but more often will one smile indulgently at their curious vision of the world. As adults in gestation, do they not remain creditable in their struggles to imitate the grown-ups of whom they so often remain comical caricatures, they being, like every caricature, incongruous as at once like and unlike the thing they reflect? However to complete the fragile equation of incongruity plus pleasure equals humour, where do we find the bonus of pleasure which confirms children’s humorous quality? It may indeed lie in some mental triumph we achieve over them, but that seems a rare and, in many cases, unworthy reaction; proof if proof were needed that the aggressive theory of humour is at best partial.1 Are we laughing aggressively when Alice wonders what is the use of a book without any pictures or conversations? Surely it is more fruitful if not more appropriate to take her attitude on board and head off to Wonderland or through the looking glass with her as our guide, not our target.
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The objective of the present paper is to introduce a new analytical category for collections of autobiographical narratives, termed as “co-authorship in the background” (in Sylwester Dworacki’s translation: participatio cogitanda). A certain autobiographical utterance placed in a collection often gains characteristics which might not be considered primary (or could go unnoticed altogether) if it was a single, individual text. Therefore, it seems necessary to include in the process of analysis and interpretation all those who contributed to the collection’s meaning; among them, editors and political or religious decision-makers. Co-authorship in the background thus concerns two dimensions: an editorial board and a body of principals. The paper presents different possible roles played by co-authors in the background, drawing on the examples from German and Polish collections of autobiographical narrations.
More...Jacek Gutorow in conversation with Christopher Reid
Interview with Christopher Reid, by Jacek Gutorow.
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