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POLITICAL USE OF RAPE IN LIVY AND SHAKESPEARE’S “THE RAPE OF LUCRECE”

Author(s): Anca-Margareta Bunea / Language(s): English Issue: 2/2012

Out of the numerous examples of feminine victims in the Romanian literature and historiography, three stand out as a source of inspiration for the Shakespearian narrative poem The Rape of Lucrece. The foundation of moral and political values in ancient Rome is represented by the famous Abduction of the Sabines in Ab Urbe Condita, that of Virginia and the chapter of Lucrece’s rape. In his poem, Shakespeare presents Rome undergoing a period of transition, the starting point for the evolution of the Roman Republic, founded on the death of Lucrece. While in Titus Livius’ work the legendary victims are perceived as essential for the salvation of Rome, and they bring legitimacy and political pragmatism, in Shakespeare’s case Lucrece is the image of “sacrifice” turning “sacred” for its own sake.

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Детските книги и конструктите за детството

Author(s): Andrea Immel / Language(s): Bulgarian Issue: 17/2016

The text examines the close link between the concepts of children's books and the cultural constructs of childhood. The construct does not pretend for authority or model, paradigm or rule, but can exercise a significant influence on people's thinking and their actions. "The construct of quarantine" comes from the conviction which is based on the observation that enlightened action of the isolation from adults serves to the children's needs. The construct of development is based on criteria comforted with the skills of children at every stage of their development. The notion of "easy entertaining book, appropriate to their abilities" still acts as a standard of evaluation of contemporary children's books. If we clearly realize how constructs direct our evaluation of children’s books, we will be able to interpret them accurately, competently and intelligently.

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Nowa Humanistyka i odpowiedzialność za ciągłość (dawnej) tradycji

Author(s): Marcin Cieński / Language(s): Polish Issue: 1/2017

In Polish literary and cultural studies, the New Humanities are a recent development, not yet fully formed and drawing on earlier methodological turns – a laboratory or sorts. Polish researchers focus on contemporary phenomena (from the mid-twentieth century), adapting their tools to them. They practically do not refer to older literatures and cultures, and consequently their work creates an image of the present that is rootless, devoid of tradition and memory. Outside Poland, by contrast, the scholars who represent the key reference points for the New Humanities have often developed their tools by exploring earlier literatures and cultures, for instance in their work on emotions. This exclusive interest in the present is worrying, as it ignores the important role of the old tradition and the continuity of culture – in research as well as in the literary and cultural education of new generations.

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Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived

Author(s): Gabriela Iuliana Colipcă-Ciobanu / Language(s): English Issue: 03/2015

The present study focuses on Michael Blakemore’s turn-of-the-millennium revival for Broadway and the London stage of the 1948 musical comedy Kiss Me, Kate by Cole Porter (music and lyrics) and Bella and Samuel Spewack (book). The metatheatrical structure of Blakemore’s revival of this famous adaptation of Shakespeare’s Taming of the Shrew impresses, among other things, by the multiplication of intertextual links as it projects Porter and the Spewacks’ as well as Shakespeare’s ‘battles of the sexes’ against the realistically ‘painted’ background of a world populated by actors, gangsters and, as an element of novelty, politically-involved US army representatives. Thus, Blakemore’s directorial perspective on the text(s) in performance turns out to be thought-provoking, drawing the present-day audience’s attention to a wider range of gender, culture and power-related forms of conflict, and making excellent use of subversive humour, the mechanisms of which this study will explore, to subtly comment on history-shaping political ‘games’.

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Anatomia simbolului în romanele lui Max Blecher

Author(s): Nicoleta Hristu (Hurmuzache) / Language(s): Romanian Issue: 2/2016

Our study analizes Blecher's narratives by focusing on his major symbols.

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Sociocultural Perspectives on Masculinity and Femininity as Gender Identity Components

Author(s): Rodica Ţocu / Language(s): English Issue: 2-II/2010

Distincția dintre cele două aspecte ale identită¬ii de gen apare ca rezultat al unui proces complex ce implică evolu¬ie biologică, psihologică şi socială. Articolul de fa¬ă analizează modul în care literatura, psihologia şi ştiin¬ele educa¬iei au fost influen¬ate de abordările şi cercetările feministe.

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Femeia în literatura şi în cultura realismului socialist – reprezentări mitice, mitificare a istoriei şi propagandă ideologică

Author(s): Simona Antofi / Language(s): Romanian Issue: 3/2010

Placed between the literary and non-literary space, but always subjected to the political aims of the Party, the texts published in Viaţa românească of the 60’s focuses on the new re-reading the aesthetic values. Written by well-known authors of the period, the texts point out different feminine images – the woman as mother and comrade of man, involved in the Communist struggle for the new-born goals – enhancing or just creating mythical feminine profiles. Beyond the power of literature to create new myths, the old borders between the literary, non-literary and political ideology are fading away, putting women on the first stage.

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The Role of Analogy in Romanian Noun System. With Regard to the Analogical Influence of the Plural Forms on the Singular Ones

Author(s): Ionel Apostolatu / Language(s): English Issue: 4-II/2010

Analogy represents one of the main causes that determined the reorganization of the grammatical system in its evolution from Latin to Romanian. A special case of analogy within the nominal system is represented by the influence of the plural forms on the singular ones. Thus, following a certain inflexional model, well represented in language, a whole series of nouns brought forth new singular forms under the influence of the plural ones and also changing their declension type. On the one hand, as far as the singular – plural opposition is concerned, the speaker aimed at the uniformization and normalization of the paradigms, where the differences between the forms were too obvious, and on the other hand, their distinction was taken into consideration in instances where there was a minimum difference or even an identity of the morphemes.

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Scholastique Mukasonga: Témoignage littéraire et recherche d’identité culturelle dans l’entre-deux

Author(s): Julia Pfeiffer / Language(s): French Issue: 1/2014

Après avoir donné un bref aperçu de l’auteure Scholastique Mukasonga et son oeuvre, l’article suivant cherche à réaliser une analyse concernant la situation de publication de celle-ci et le statut en tant qu’écrivaine exilée en France. Il s’agit d’un positionnement dans le champ littéraire européen et cela peut être confirmé entre autre par le biais de la réponse aux questions importantes du lecteur qu’elle cible de son oeuvre ainsi que la fonction de son témoignage, notamment la transmission de sa mémoire et la recherche de son identité culturelle dans cette situation postcoloniale.

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L’exil comme espace d’une émancipation de l’écriture féminine : lecture de Femme nue, femme noire de Calixthe Beyala

Author(s): Léa Nyingone / Language(s): French Issue: 1/2013

Cet article tente d’examiner la question de l’exil comme espace d’émancipation de l’écriture féminine dans le roman Femme nue, femme noire de Calixthe Beyala. L’exil n’est plus simplement perçu comme un prétexte d’éloignement, mais devient l’espace dans lequel la plume féminine se déploie, se libère en essayant d’aspirer à la reconstruction d’une posture féminine déliée de la tutelle masculine. C’est le personnage d’Irène Fofo qui permet ici cette réalisation.

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ОБРАЗ СТЕНОГРАФА В «ФАНТАСТИЧЕСКОМ РАССКАЗЕ» «КРОТКАЯ» Ф. М. ДОСТОЕВСКОГО

Author(s): Irina Svyatoslavovna Andrianova / Language(s): Russian Issue: 1/2018

The short story “A Gentle Spirit” is the only work by F. M. Dostoevsky, which presents the image of a stenographer. This article contains the first special study on the functions and the internal structure of the image of the stenographer, on the importance of stenography in the creative process of Dostoevsky himself. These observations are supplemented with the materials of notebooks of the writer and his wife, also stenographer. The stenographer is a symbolic, imaginary, "inner" character introduced by the writer in order to write down the confessional monologue of the protagonist. The author of “A Gentle Spirit” reproduces the flow of thought of the Pawner and for the first time in literature carries out an experience of accurate recording of an internal conversation, a “stream of consciousness”. The techniques of the narration are aimed at creating in a reader a feeling of dealing with a verbatim report. Because of the convention of this “shorthand” form of the narration, Dostoevsky defined the genre of “A Gentle Spirit” as a “fantastic story”. Unlike Anna Dostoevskaya, who used to have a dialogue with the writer during the process of dictation, the stenographer in "A Gentle Spirit" gives no assessments of the actions and thoughts of the narrator and his wife, neither does he enter into a dialogue with the Pawner. The Husband of the Gentle Creature conducts an imaginary dialogue with himself, with his wife, as if she were still alive, with the listener-spectator, but he does not need a real interlocutor. The introduction of the image of the stenographer into the story allowed Dostoevsky to describe to a nail the difficult path that makes the Pawner perceiving a tragic meaning of the event — the suicide of his beloved wife, and realizing his absolute catastrophe in life.

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Practical Spheres of the Rusyn Language in Slovakia

Author(s): Anna Plišková / Language(s): English Issue: 1/2008

The Rusyn language in Slovakia was codified in 1995 on the basis of the country’s two most prevalent Rusyn dialects: East Zemplin and West Zemplin. From this perspective Rusyn is a relatively young Slavic language, and this despite its centuries-long history, which is marked by many conflicts concerning the question of a literary norm; the disputes concerning Rusyn have taken place on the territory of today’s Slovak Republic, as well as throughout all of historical Carpathian Rus. Any solutions concerning a Rusyn literary language were always connected to the question of the Rusyn minority’s ethnic identity [i.e. are they (Great) Russian, Ukrainian, or do they form a separate Slavic nationality?], and these issues were not possible to resolve until after 1989, when society began to enjoy new pluralistic conditions. Thus, the late twentieth-century codification of Rusyn on the basis of local dialects was the natural result of an expression of free will on the part of Rusyns, and a response to the dilemma of their ethnic identity. The codification of Rusyn became the basis for introducing the literary language into various public spheres in Slovakia - publishing and media, religious life, stage and theatre productions, and of course the literary world -, which had until 1995 used various forms of Rusyn dialects without applying standardized rules. The expansion of Rusyn into these spheres of life - especially into the educational system and government administration - required the existence of a standardized literary language. Thus, the implementation of literary Rusyn (in its written and spoken form) into the above-named spheres of life is an important step to guaranteeing the language’s further development.

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Нефантастичность «фантастичного “Идиота”»

Author(s): Vladimir Aleksandrovich Viktorovich / Language(s): English,Russian Issue: 1/2018

Two figures of Russian history — Count G. A. Kushelev-Bezborodko and Prince V. F. Odoevsky — have been considered up to now the prototypes of the protagonist of Dostoevsky’s novel “The Idiot”. This opinion was conditioned by similar biographical events and traits of their characters and appearance. This article offers a new approach to the problem: spiritual life of a real person may be prototypical. Thus, E. A. Stackenschneider, Dostoevsky’s good acquaintance, represents a personality extremely exciting for the author of “The Idiot”: a handicapped person due to the insolence of Nature, who is deprived of a right for mere human happiness, she is experiencing and overcoming the metaphysical insult complex embodied in a variative way in the images of Ippolit Terentyev and Prince Myshkin in the novel. The diary of E. A. Stackenschneider (including its pages not published up to now) renovates the conception of the life context of the novel “The Idiot” and verifies the author’s claim about a non fantastic character of his hero.

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Стенографическая система А. Г. Достоевской: проблема дешифровки

Author(s): Irina Svyatoslavovna Andrianova,Oksana A. Sosnovskaya / Language(s): English,Russian Issue: 1/2018

One of the particular features of the Dostoevsky family’s handwritten archive is that it contains documents containing verbatim records. This is the diary of Anna Dostoevskaya of 1867, rough novel “The Brothers Karamazov”, “A Writer’s Diary”, a series of memorial and business records made by the writer’s assistant. Most of these documents were deciphered in the 1950s—1970s by Ceciliya Poshemanskaya, however, there are documents, lines, words, left undeciphered or presumably deciphered while those deciphered require critical analysis. The purpose of this study is to find out whether the decoding of the transcripts of Anna Dostoevskaya 150 years since their creation, whether it is possible to repeat the experience of Ceciliya Poshemanskaya today. To achieve this goal, the main features of the stenographic system by Dostoevsky’s wife were identified, and difficulties in reading her transcripts were spotted. Anna Dostoevskaya used the German Gabelsberger cursive shorthand system adapted for the Russian language by Pavel Olkhin and currently forgotten. But she also updated this shorthand for her own use, inserting some logical acronyms “Samoslovy” inventing a “system in the system”, and thus, making the task of reading her transcripts more complicated. Our attention is focused on the earliest of A. Dostoevskaya’s shorthand documents still existing — the first part of the diary deciphered and edited by her and Ceciliya Poshemanskaya which provides a “key” to all the shorthand notes of the writer’s wife. Our experience of the work upon the given autograph showed that the methods employed by Ceciliya Poshemanskaya, more specifically the compilation of abbreviations dictionary used by Anna Dostoevskaya in her work and the use of this dictionary in further decryption, is still relevant today, especially due to the possibility of using modern digital technologies. The article presents excerpts from unknown archival materials of Anna Dostoevskaya and Ceciliya Poshemanskaya, shapes a plan in the study of verbatim records of Anna Dostoevskaya.

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O problemie cenzury społecznej na przykładzie recepcji twórczości Józefa Mackiewicza

Author(s): Marcin Hylewski / Language(s): Polish Issue: 4/2017

Artistic work is subject to a series of external pressures that constitute and structure the field of artistic licentia poetica. Apart from the phenomenon of official censorship, which is widely recognized and typical for some political groups, the phenomenon of social (unofficial) censorship should be distinguished. Censorship in the official sense is defined as, preventive or offensive, control of the content of acts of communication made by specialized state institutions within the framework of the government’s information policy. Social censorship also constitutes a fragment of the social control apparatus and focuses on the regulation of the communication process, but its disponent is not the government but the specific social circles. For this reason, its actions, although they may be the fulfillment of the official censorship goals, are not delegated by it on the basis of institutional coercion. The author deals with the functioning of social censorship on examples drawn from literary life, especially the turmoil around the person and the work of Józef Mackiewicz.

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Radnička klasa u postjugoslavenskoj zbilji i reprezentacija radnika u hrvatskoj književnosti: u procjepu između heterotopije krize i devijacije

Author(s): Miranda Levanat-Peričić / Language(s): Croatian Issue: 2/2017

In the historical circumstances of the post-Yugoslav era, class solidarity was regarded as the dominant ideological characteristic of the abandoned self-management socialism. Therefore, transition-related discursive practices which excluded the notion of the worker were common on all levels. This ranged from the Croatian 1990s newspeak which introduced the more neoliberal term djelatnik “employe” into the lexicon, to disempowering the worker within the newly-introduced value system dominated by entrepreneurs as the epitome and the driving force of the new society. In this way, workers were first transformed from self-managers and producers into ideological Others, and then into actual “former workers”, relocated from being the vital segment of the creative present and representing utopian projections of progress into a retired past. Given all this, it is significant to note that the worker is once again being used in book titles and as a literary character in contemporary literature – in 2014, the return of the worker is notable in Goran Ferčec’s play Radnice u gladovanju (Female Workers on Hunger Strike, 2014), and in Viktor Ivančić’s prose stories Radnici i seljaci (Workers and Peasants, 2014). Literary representations of workers in these texts are contextualized within a framework of a new utopian desire and in revolt against the monstrously inverted logic of corporate capitalism which transforms humanity into a serious deviation. Special attention is given to the representation of the space of rebellion taking into consideration the notion of heterotopia: a nursing home, a prison or a hospital are counter-places where the transition-related reality played its cruel game with the “former” worker and the destroyed potentials that it created in his/her projections of the future.

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Kaśka Kariatyda już tu nie mieszka. Temat niechcianej ciąży i aborcji w nowej prozie kobiet

Author(s): Dariusz Nowacki / Language(s): Polish Issue: 2/2017

The article discusses the literary representations of the experience of unwanted pregnancy and abortion in new women’s prose. The author of the article refers to the novels published between 2003 and 2016. He considers the previously conducted research on the same subject (especially that of Agnieszka Mrozik). However, he concentrates mainly on the prose created in the last few years. He is above all interested in changes regarding the problem of unwanted pregnancy and abortion that occurred after 1989. When writing about this aspect of female experience has appeared in new prose, it is usually about the past and used to question the morality of the Polish People’s Republic. Recently the problem of unwanted pregnancy seems to be non-existent as all issues pertaining to maternity are solved in a similar way: despite initial hesitations the heroines of the novels decide to have babies and never regret their choice. In this context Aleksandra Zielińska’s novel „Przypadek Alicji” („The case of Alice”) seems to be especially interesting. Considerations concerning this novel appear in the final part of the article.

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Йозеф Рот: Енциклопедия на мъжественостите

Author(s): Maya Razboynikova-Frateva / Language(s): Bulgarian Issue: 18/2016

In the novels of the Austrian writer Joseph Roth a registry of distinct masculinities can be realized in their connection to and dependence on the hegemonial military masculinity, inherited from the nineteenth century. The study is discussing some fundamental thesis of the men’s studies and starts with the later and most famous novels of Roth – Radetzky March (1932) and The Emperor’s Tomb (1938) – in which the social and national conditioned, differentiated treatment of the military masculinity till the war can be observed and returns in a second step to the novels of the 20s, which thematize the crisis of masculinity after the war also as an effect of gender on the biological body.

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KUYRUKLU YILDIZ ALTINDA BİR İZDİVAÇ ROMANINDA FEMİNİST SÖYLEMLER

Author(s): Mustafa Yiğitoğlu / Language(s): Turkish Issue: 43/2018

Innovations are seen in the world of ideas and thoughts of the Ottoman society, which has taken many administrative and financial innovations after the Tanzimat period. These are also naturally reflected in literary works. The intellectuals of the period include many social problems in their works, from slavery to education. Direct or indirect criticism is made about the situation of the women who constitute the half of the society. The women’s problems, which started to find a partial place in the early periods, is examined in more detail after the declaration of second constitutionalist period. The novelists are not insensitive to this issue, which has both an individual and a social identity. Hüseyin Rahmi is also among the authors who can be evaluated in this context. Hüseyin Rahmi, who entered the world of literature in 1887, deals with issues such as victimization of women, backwardness, inequality, and lack of education in his novels at different intensities. Feminism, focusing on women’s rights, questioning and defending these rights, becomes a rising trend after the 20th century. Feminism, which also affects the world of literature, is included in the work of art by some novelists. The novelists take a stance on this subject, whether they are dealing with it or not. Hüseyin Rahmi Gürpınar makes some statements in his novel A Marriage Under A Comet, making some criticisms about the social and individual position of women in the presence of novel characters. In this paper, the novel of the author in question has been studied and it has been attempted to determine which discourses have been used for the feminist elements in the book. Thereafter, the findings have been interpreted in this context.

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L’Homme-toupie. Le vagabond comme figure de la subversion dans Le Ventre de Paris d’Émile Zola

Author(s): Jolanta Rachwalska von Rejchwald / Language(s): French Issue: 4/2014

A vagrant Florent Quenu serves as a methaphor of social-political shift that strikes France in the late XIX-th century. Intimidated by the magnitude of change, upon his return Florent wanders the streets, meanders and strolls in circles which casts a horrendous contradiction with the austerity of Hausmann’s new Paris, aligned with omnipresent straight line forms. This geometrical collision of a straight line and a curve is symptomatic of ferocious conflict between the Second Empire and the alternative social model embodied in the Florent’s attitude.

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