Illustrating Quo vadis in Italy (1900–1925)

2020 ◽  
pp. 165-192
Author(s):  
Raffaele De Berti ◽  
Elisabetta Gagetti
Keyword(s):  
Twentieth Century ◽  
Reference Point ◽  
Silent Film ◽  
Italian Society ◽  
The Novel ◽  
New Meanings ◽  
Large Audience ◽  
Quo Vadis

In Italy, from the beginning of the twentieth century, illustrated editions of Quo vadis multiply, starting from that of Treves with drawings by Minardi (1901), down to the popular edition by ‘Gloriosa’ (1921). Related paratexts from the novel and its two cinematic adaptations by Guazzoni (1913) and D’Annunzio–Jacoby (1924) flank these numerous illustrated editions, such as a series of photosculptures by Mastroianni and postcards displaying scenes from the films. Sienkiewicz’s novel itself works on several levels, each one involving a large audience: from a popular one to educated readers. The illustrated editions and postcard series will be dealt with as paratexts, analysed not in terms of their aesthetics or fidelity to the plot but as elements widening the interpretation of Quo vadis in the context of Italian society and culture of that time, and taking into consideration the expectations of an Italian audience. Placed in editions of the novel, the iconographic choices displayed in the illustrations play the role of glosses, or even act as the voices of readers/viewers. Thanks to these paratexts, the novel gains new meanings. Our inquiry has been limited to the period 1900 to 1930, to coincide with the end of the silent-film era and the fading of the echo caused by D’Annunzio and Jacoby’s film. The two films will be the constant iconographic reference point because of their accumulation of all the preceding illustration strategies for Quo vadis and their influence on the subsequent typology of illustrations in a continuous circulation of media.

scholarly journals The Catch of the Hyperreal: Yossarian and the Ideological Vicissitudes of Hyperreality

Text Matters ◽  
2018 ◽  
pp. 386-410
Author(s):  
Abdolali Yazdizadeh
Keyword(s):  
Twentieth Century ◽  
Cultural Theory ◽  
Critical Assessment ◽  
Vantage Point ◽  
The Novel ◽  
Fictional World ◽  
American Life ◽  
Ideological Discourse ◽  
Catch 22

Hyperreality is a key term in Jean Baudrillard’s cultural theory, designating a phase in the development of image where it “masks the absence of a profound reality.” The ambiance of Joseph Heller’s Catch-22 (1961) closely corresponds to Baudrillard’s notion of the hyperreal as images persist to precede reality in the fictional world of the novel. Since for Baudrillard each order of simulacra produces a certain mode of ideological discourse that impacts the perception of reality, it is plausible that the characters of this fictional context should be ideologically impacted by the hyperreal discourse. From this vantage point it is possible to have a new critical assessment of Yossarian’s (protagonist) antiheroic stance and study the role of the “business of illusion,” whose ideological edifice is based on the discourse of the hyperreal, on his antiheroic stance and actions. By drawing on Baudrillard’s cultural theory this paper aims to read Heller’s novel as a postmodern allegory of rebellion against the hyperreality of the twentieth-century American life and trace its relevance to modern-day U.S.

scholarly journals “Musil’s Discourse”: Some Aspects of a Linguistic Experiment

2020 ◽  
pp. 185-205
Author(s):  
T. V. Yudina ◽  
V. O. Fedorovskaya
Keyword(s):  
Twentieth Century ◽  
Conservation Strategy ◽  
The Novel ◽  
Bipolar Structure ◽  
Discursive Analysis ◽  
Central Fragment ◽  
Cultural Experts ◽  
Positive Presentation ◽  
Linguistic Phenomenon

The article is devoted to the role of experiment in the process of discourse formation as a linguistic phenomenon. The object of the study is the discourse initiated by the largest Austrian writer of the twentieth century, Robert Musil. The aim of the study is a discursive analysis of the philological and literary-critical interpretations of the novel “A Man Without Qualities”, which is a central fragment of the “Musil’s Discourse”. It is noted that the Musil’s discourse unfolding during the century, is formed by numerous participants representing various groups of subjects: literary scholars, writers, cultural experts, psychologists and literary critics. Particular attention is paid to the bipolar structure of the Musil’s discourse as its main characteristic. It is shown that the leading German critic Marcel Reich- Ranicki set a new direction for the development of Musil’s discourse. The results of the analysis of Musil’s discourse at the level of its content, as well as at the levels of strategies and means of implementation are presented. The main strategies of the studied fragment of the discourse are identified - the deconstruction strategy and the conservation strategy, implemented in the tactics of invective, tactics of positive presentation and tactics of support. It is proved that the idea of the experiment laid down by Musil in the basis of the novel “A Man Without Qualities” is transposed to the Musil’s discourse as a whole and turns it into an object of experiment.

scholarly journals The Taming of Matter: Jalmari Finne and the Typewriter

2020 ◽  
Vol 13 (2) ◽  
Author(s):  
Veijo Pulkkinen
Keyword(s):  
Twentieth Century ◽  
The Novel ◽  
Remarkable Feature ◽  
Previous Version ◽  
Genetic Process ◽  
Early Twentieth Century ◽  
Genetic Examination

This article examines the role of the typewriter in the genetic process of the novel Vuosisatain vaatimus (1918) by the Finnish novelist Jalmari Finne (1874–1939). Finne is a rare example of an early twentieth-century author who mastered touch typing and composed directly on a typewriter. He claimed that he used the typewriter because it enabled him to keep up with his thinking, a claim that challenges Friedrich Kittler’s (1990, 193) thesis that the most remarkable feature of the typewriter is not its speed but its “spatially and discrete signs”. A genetic examination of Finne’s typescripts suggests that he had developed generative typing into a kind of  “blind revision” in that he did not read and correct previous drafts but rather inserted a blank paper in the machine and typed an altogether new version of the text without copying the previous version.  

scholarly journals From the Bright Future of the Nation to the Dark Future of Mankind: Jókai and Karinthy in Hungarian Utopian Tradition

2016 ◽  
Vol 8 ◽  
pp. 12-23
Author(s):  
Zsolt Czigányik
Keyword(s):  
Twentieth Century ◽  
Active Part ◽  
The Novel ◽  
Habsburg Empire ◽  
Utopian Literature ◽  
The World ◽  
Lasting Peace ◽  
Structuralist View ◽  
To Come

After defining utopianism Czigányik gives a brief introduction to Hungarian utopian literature. While he discusses Tariménes utazása [‘The Voyage of Tariménes’], written by György Bessenyei in 1804, the utopian scenes of Imre Madách’s Az ember tragédiája [‘The Tragedy of Man’, 1862] and Frigyes Karinthy’s short utopian piece, Utazás Faremidoba [‘Voyage to Faremido’, 1916], the bulk of the paper deals with Mór Jókai’s monumental novel, A jövő század regénye, [‘The Novel of the Century to Come’, 1872]. Jókai, who had taken an active part in the 1848 uprising, depicts in this novel a future world of an imaginary twentieth century, where Hungary has primacy within the Habsburg empire (with the emperor king being Árpád Habsburg) and the invention of the airplane (by a Hungarian) brings lasting peace, stability and prosperity to the world. Besides introducing the Hungarian utopian tradition, the paper will reflect upon the role of individuals in imagined societies and how an agency-centered narrative overwrites the essentially structuralist view of history, that usually permeates utopias.

scholarly journals Ancient Deities and New Meanings: The Role of Myths in Twentieth-Century Astrology

2018 ◽  
Vol 22 (1) ◽  
pp. 58-63
Author(s):  
Astrid B. Leimlehner
Keyword(s):  
Twentieth Century ◽  
Greek Mythology ◽  
Ancient Greek ◽  
New Meanings

This paper examines a peculiar notion of divinity: the observation that authors of twentieth century astrology books recount myths of ancient Greek deities. These old stories seem to contradict the often cited ‘new’ psychological nature of Western astrology since the 1920s following the influence of C. G. Jung’s psychology. On a larger scale, this observation has the potential to blur the boundaries between so-called ‘traditional’ and ‘psychological’ astrology. And yet astrological authors had their reasons for including Greek mythology in their books. The task of this paper is to flesh out the role that ancient deities play in – putatively – new astrological concepts using examples of the German astrologer Olga von Ungern-Sternberg (1895-1997).

Female images and trauma visualization in the blockade text of Olga Bergholz

2021 ◽  
pp. 110-123
Author(s):  
Natalya A. Prozorova ◽  
Keyword(s):  
Soviet Period ◽  
Trauma Studies ◽  
The Novel ◽  
Female Images ◽  
New Meanings ◽  
Graphic Symbol ◽  
Poetic Texts ◽  
Propaganda Posters ◽  
Realistic Images

This work investigates the role of female images in the representation of trauma in the blockade narrative by O. F. Bergholz. Her poetic texts for propaganda posters “Okna TASS” and the poem “Conversation with a neighbor” portray realistic images of women. The poem “The February Diary” conveys the blockade trauma through the aesthetics of silence, filled with existential semantics. In “Leningrad Poem,” the poet emphasizes the loss of sacred traditions: the disconsolate mother cannot bury her child. In “Leningrad Autumn,” Bergholz reproduces real everyday life and religious-mystical being: the figure of a woman holding a board with nails visualizes a graphic symbol - a cross, manifesting the burden of people’s ordeal. In the novel “Day Stars,” the chapter “Smoke Break,” the author depicts the emotional and moral threshold crossed by two Leningrad women, sitting on a sled with a coffin and having a smoke break. In the passage “Banya” from the unfinished second part of “Day stars,” Bergholz breaks through to the “existentially uncomfortable writing” and visualizes the blockade trauma in the category of physicality traditionally tabooed in the literature of the Soviet period. The naked female body becomes exceptionally expressive and serves as a sign to reveal new meanings in the literary text. Skinny bodies being the norm, the appearance of a buxom beauty in the bathhouse caused anger: the blockade women identified her as an enemy. The author of the paper defines Leningrad women, considered in the framework of trauma studies, as a “community of loss” of female identity.

A short history of written Wu, Part II: Written Shanghainese

2018 ◽  
Vol 4 (2) ◽  
pp. 217-246 ◽  
Author(s):  
Don Snow ◽  
Shen Senyao ◽  
Zhou Xiayun
Keyword(s):  
Twentieth Century ◽  
Hong Kong ◽  
Print Culture ◽  
First Century ◽  
Recent Book ◽  
The Novel ◽  
Public Attention ◽  
History Of ◽  
To Receive

AbstractThe recent publication of the novelMagnificent Flowers(Fan Hua繁花) has attracted attention not only because of critical acclaim and market success, but also because of its use of Shanghainese. WhileMagnificent Flowersis the most notable recent book to make substantial use of Shanghainese, it is not alone, and the recent increase in the number of books that are written partially or even entirely in Shanghainese raises the question of whether written Shanghainese may develop a role in Chinese print culture, especially that of Shanghai and the surrounding region, similar to that attained by written Cantonese in and around Hong Kong.This study examines the history of written Shanghainese in print culture. Growing out of the older written Suzhounese tradition, during the early decades of the twentieth century a distinctly Shanghainese form of written Wu emerged in the print culture of Shanghai, and Shanghainese continued to play a role in Shanghai’s print culture through the twentieth century, albeit quite a modest one. In the first decade of the twenty-first century Shanghainese began to receive increased public attention and to play a greater role in Shanghai media, and since 2009 there has been an increase in the number of books and other kinds of texts that use Shanghainese and also the degree to which they use it.This study argues that in important ways this phenomenon does parallel the growing role played by written Cantonese in Hong Kong, but that it also differs in several critical regards. The most important difference is that, to date, written Shanghainese appears almost exclusively in texts that look back to “old Shanghai” and/or to traditional alley life in Shanghai, and that a role of the type written Cantonese has in Hong Kong is not likely to be attained unless or until Shanghainese texts that are associated with modern urban Shanghai life, especially youth culture, begin to appear.

Militant Emotions in Reina Roffé’s Monte de Venus

2017 ◽  
Vol 1 (2) ◽  
pp. 39-58
Author(s):  
Erika Bondi
Keyword(s):  
Twentieth Century ◽  
The Novel ◽  
Time Period ◽  
Emotions In Literature ◽  
Militant Groups ◽  
The 1960S ◽  
Reina Roffe

This article analyses the role of emotions in the formation of militant groups as represented in the novel Monte de Venus (1976) by Reina Roffé. It draws comparisons between the novel’s backdrop of Argentina’s militant movements of the 1960s and ’70s and the actual militancy in the country from that time period. This approach to emotions in literature focuses on the fictionalisation of character emotions and its role in the production of the overall tone of the novel. An important aspect of the study is the genre of the militant literature in Argentina in the mid-twentieth century and its aesthetic and ideological norms.

ROLE OF THE NOVEL INTRODUCED PAN-INTESTINAL CAPSULE ENDOSCOPY SYSTEM IN CELIAC DISEASE

2019 ◽  
Author(s):  
F Foerster ◽  
K Mönkemüller ◽  
PR Galle ◽  
H Neumann
Keyword(s):  
Celiac Disease ◽  
Capsule Endoscopy ◽  
The Novel
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