Institutions of writing and authorship

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Historical Context ◽  
National Literature ◽  
Book Market ◽  
Literary Field ◽  
Direct Participation ◽  
Political Critique ◽  
Court Literature

The chapter discusses the development of literature within its institutional and historical context, considering how patronage, a fledgling book market, and publishing conditions delineated the spaces of a literary field. The chapter looks at court literature and the ode as the definitive genre, examining its techniques and scope for variation. Literature began to flourish outside court, and the chapter traces the evolution of poetry into an amateur pastime. The discovery of poetic genius added to the delight afforded by poetry as a form of sociability. This innovation coincided with pre-Romantic trends and the nascent idea of national literature. The pleasure of literature extended into satirical journals and comedies that served as vehicles for social and political critique, at times even engaging the monarch in direct participation.

Травелоги югославских писательниц первой половины ХХ века: в поисках идентичности

2019 ◽  
Vol 64 (1) ◽  
pp. 27-36
Author(s):  
А. Г. БОДРОВА
Keyword(s):  
20Th Century ◽  
Historical Context ◽  
The Other ◽  
Literary Field ◽  
The Balkans ◽  
Egyptian Women ◽  
Dialogical Philosophy ◽  
And Gender ◽  
Women's Travel ◽  
Gender Boundaries

The paper considers travelogues of Yugoslav female writers Alma Karlin, Jelena Dimitrijević, Isidora Sekulić, Marica Gregorič Stepančič, Marica Strnad, Luiza Pesjak. These texts created in the first half of the 20th century in Serbian, Slovenian and German are on the periphery of the literary field and, with rare exceptions, do not belong to the canon. The most famous of these authors are Sekulić from Serbia and the German-speaking writer Karlin from Slovenia. Recently, the work of Dimitrijević has also become an object of attention of researchers. Other travelogues writers are almost forgotten. Identity problems, especially national ones, are a constant component of the travelogue genre. During a journey, the author directs his attention to “other / alien” peoples and cultures that can be called foreign to the perceiving consciousness. However, when one perceives the “other”, one inevitably turns to one's “own”, one's own identity. The concept of “own - other / alien”, on which the dialogical philosophy is based (M. Buber, G. Marcel, M. Bakhtin, E. Levinas), implies an understanding of the cultural “own” against the background of the “alien” and at the same time culturally “alien” on the background of “own”. Women's travel has a special status in culture. Even in the first half of the 20th century the woman was given space at home. Going on a journey, especially unaccompanied, was at least unusual for a woman. According to Simone de Beauvoir, a woman in society is “different / other”. Therefore, women's travelogues can be defined as the look of the “other” on the “other / alien”. In this paper, particular attention is paid to the interrelationship of gender, national identities and their conditioning with a cultural and historical context. At the beginning of the 20th century in the Balkans, national identity continues actively to develop and the process of women's emancipation is intensifying. Therefore, the combination of gender and national issues for Yugoslavian female travelogues of this period is especially relevant. Dimitrijević's travelogue Seven Seas and Three Oceans demonstrates this relationship most vividly: “We Serbian women are no less patriotic than Egyptian women... Haven't Serbian women most of the merit that the big Yugoslavia originated from small Serbia?” As a result of this study, the specificity of the national and gender identity constructs in the first half of the 20th century in the analyzed texts is revealed. For this period one can note, on the one hand, the preservation of national and gender boundaries, often supported by stereotypes, on the other hand, there are obvious tendencies towards the erosion of the established gender and national constructs, the mobility of models of gender and national identification as well, largely due to the sociohistorical processes of the time.

Translation and South African English Literature: van Niekerk and Heyns' Agaat

English Today ◽  
2013 ◽  
Vol 29 (1) ◽  
pp. 53-57 ◽  
Author(s):  
Lobke Minter
Keyword(s):  
Science Fiction ◽  
South African ◽  
Mother Tongue ◽  
English Literature ◽  
Historical Context ◽  
African Literature ◽  
The South ◽  
Literary Field ◽  
Post Colonial ◽  
South African Literature

English is in many ways the language that is assumed to be the giant in the South African literary field. The mere mention of South African literature has a different nuance to, let's say, African literature, since African literature has a vast array of national, colonial and post-colonial contexts, whereas South African literature is focused on one nation and one historical context. This difference in context is important when evaluating the use of English in South African Literature. In many ways, the South African literary field has grown, not only in number of contributors, and the diversity represented there, but also in genre or style. South African literature is becoming more fluid, more energetic, and more democratic in all the ways that the word implies. Writers like Lauren Beukes and Lily Herne are writing science fiction worlds where Cape Town is controlled by autocratic fascists or zombie wastelands that stretch from Table Mountain to Ratanga Junction; Deon Meyer writes crime thrillers, and Renesh Lakhan plumbs the depths of what it means to be South African after democracy. In many ways, the entire field of literature has changed in South Africa in the last twenty or so years. But one aspect has remained the same: the expectation, that while anyone who has anything to say at all, creatively, politically or otherwise, can by all means write it in their mother tongue, if the author wants to be read by more than a very specific fraction of society, then they need to embark on the perilous journey that is translation, and above all, translation into English.

scholarly journals Carlos Casares, autor dramático. Unha revisión crítica

2018 ◽  
Vol 22 ◽  
pp. 125
Author(s):  
Manuel F. Vieites
Keyword(s):  
Political Context ◽  
National Literature ◽  
Literary Field ◽  
Basic Principles ◽  
New Model ◽  
Differential Character ◽  
Dramatic Text

Carlos Casares é autor dun único texto dramático publicado, no que propón un novo modelo de creación dramática nun momento en que o campo literario galego estaba plenamente mediatizado pola loita contra a ditadura, polas liberdades e polo recoñecemento do carácter diferencial da nación galega. Neste artigo propoñemos unha lectura do texto nese contexto sociocultural e político, pero tamén á luz de diferentes teorías que permite considerar ata que punto no texto de Casares se estaban asentando os principios básicos do que se ten definido como literatura nacional, unha praxe artística que supera a instrumentalización e promove a autonomía discursiva.Carlos Casares is the author of a single published dramatic text, where he proposes a new model of dramatic enactment at a time when the literary field was fully mediated by the struggle against dictatorship, for freedom and for the recognition of the differential character of the Galician nation. In this paper we propose a reading of the text in that sociocultural and political context, but also to the light of different theories which allow us to consider to what extent this text by Casares was settling the basic principles of what has been defined as national literature, an artistic praxis with a strong discursive autonomy and devoid of instrumentalism.

scholarly journals Literatur – grundsätzlich mehrsprachig!? Das politische Potenzial literarischer Mehrsprachigkeit heute, am Beispiel von Barbi Marković’ Superheldinnen

2021 ◽  
Vol 26 (1) ◽  
pp. 67-84
Author(s):  
Sandra Vlasta
Keyword(s):  
Literary Criticism ◽  
National Literature ◽  
Literary Studies ◽  
The Political ◽  
Literary Field ◽  
Major Language ◽  
Political Challenge ◽  
Per Se ◽  
Literary Prizes ◽  
And Function

Literature – Multilingual on Principle?! The Political Potential of Literary Multilingualism Today, using the Example of Barbi Marković’s Superheldinnen. Research on literary multilingualism is increasingly based on the assumption that literature per se is multilingual. This is true for concepts such as Mikhail Bakhtin’s ‘polyphony’, in which multilingualism occurs in the form of social, regional and historical variants within one major language. Similarly, it applies to Rainier Grutman’s concept of hétérolinguisme, which expands Bakhtin’s notion and includes actual language changes. Recently, Till Dembeck has even called for a philology of multilingualism that would accommodate literary multilingualism in literary criticism. Using Barbi Marković’s novel Superheldinnen (2016) as an example, I discuss this recent development in multilingual literary studies and analyse concepts, forms and function of literary multilingualism. In so doing, I underline the transcending character of literary multilingualism that expresses itself on various levels: linguistically, formally, medially and with respect to culture. Thus, I aim to illustrate the enormous political potential of literary multilingualism. In fact, multilingualism in literature, as opposed to literature in times of a “monolingual paradigm” (Yasemin Yildiz), poses a political challenge on various levels. Concepts, such as national literature, literary field, but also literary studies and their institutions (i.e. language departments) reach their limits if literature is understood as being multilingual. In the second part of this article, I discuss the difficulties that come with literary prizes, literary studies and the access to the literary field. These often express themselves as concrete problems for individuals who, for instance, have difficulties accessing the literary field.

The Politics of Attack

2017 ◽  
Author(s):  
Michael Loadenthal
Keyword(s):  
Historical Context ◽  
Contemporary History ◽  
Political Actors ◽  
Police Station ◽  
Political Critique ◽  
The Social ◽  
History Of ◽  
Urban Guerrillas ◽  
Organic Intellectual ◽  
Social War

The politics of attack is an exploration of insurrectionary anarchist praxis, with a particular focus on the rhetoric, discourse, and theory found in communiqués. This book challenges the reader to consider the marginalized ideas put forth by those political actors that communicate through bombs, arson, and broken windows, and who are rejected through the state’s construction of terrorism. When a police station is firebombed, the subsequent discussions focus more on the illegality of the act rather than the socio-political critique the actor put forth. What if we were to embrace the means through which the militant, ‘organic intellectual’ acts, and consider the communiqué’s content, the way one would consider any political text? This inter-textual analysis is presented within a political and historical context, with the hopes of elevating the discussion of insurrectionary praxis beyond notions of terrorism and securitization and towards its application for intersectional challenges to structural violence and domination. In the social war being waged by insurrectionary anarchists, small acts of violence are announced and contextualized through written communiqués, which are posted online, translated, and circulated globally. This book offers the first contemporary history of these post-millennial, digitally-mediated, insurrectionary anarchist networks, and seeks to locate this tendency within anti-state struggles from the past. Through an examination of thousands of movement documents, this book presents the discourse offered by clandestine, urban guerrillas fighting capitalism, the state, and the omnipresent forces of violence and coercion.

scholarly journals “MANARAGA” AND OTHER WRITINGS (Some Aspects of the Russian Literature Model Formation in the Russian Book Market)

2021 ◽  
Vol 26 (1) ◽  
pp. 9-21
Author(s):  
Martin Lizon ◽  
Keyword(s):  
Short Story ◽  
World Literature ◽  
Russian Literature ◽  
Symbolic Capital ◽  
Literary Texts ◽  
Book Market ◽  
Literary Field ◽  
Two Systems ◽  
The Status ◽  
Model Formation

The article compares the functioning of Russian fiction works in the artistic narrative (“Manaraga”, the short story of Vladimir Sorokin) and in the space of the Slovak book market. It draws attention to the relationship between the works of fiction value and a certain literary space, that is, to the problem of a literary canon formation (pantheon) as an essential component of the literature system. The value in the text is understood as the cultural (symbolic) capital of a work of art, awarded to it by a certain institution, within which the work is functioning. To a certain extent, this perception is opposed by its identification in Sorokin’s short story with economic capital (the cost of individual publications) and the profit expectation from the sale of books by publishers, since these two antagonistic capitals – the cultural and the economic one – are, according to Pierre Bourdieu [Bourdieu 2010], an integral part of literature existence in the literary field. The value of works of fiction in these two systems is considered by the example of the Russian literature model and its hierarchy presented in “Manaraga” and on the basis of the Russian literature model that has developed over the past 30 years in the Slovak book market. The article reveals the parallels between these two systems, which indicate: firstly, Sorokin’s reflection on the Russian literature functioning in the space of world literature; secondly, the essential importance of the value attributed to individual literary texts (the status of a classical writer, or a representative of world literature), as an essential factor of the Russian literature model formation in the Slovak book market.

scholarly journals "Córki powietrza. Sen Balladyny": Calderón spotyka Słowackiego w polu literackim, czyli hiszpańsko-polska comedia colaborada XXI wieku

2021 ◽  
Vol 21 ◽  
pp. 291-310
Author(s):  
Marta Eloy Cichocka
Keyword(s):  
Complex Network ◽  
Golden Age ◽  
Historical Context ◽  
Pierre Bourdieu ◽  
Main Subject ◽  
Literary Field ◽  
Classic Literature ◽  
Literary Relations ◽  
The Subject ◽  
Theoretical Considerations

Literary relations between Poland and Spain are not only the subject of some purely theoretical considerations of this essay, but also a space for creative practice within the literary field, in the sense proposed by Pierre Bourdieu, as a complex network of positions, relations, and rivalries between its participants, individuals, and institutions. The main subject of the article is the process of creating a Polish-Spanish dramatic collage called 'Daughters of the Air. Balladyna’s Dream' (2019) based on Calderon’s and Słowacki’s dramas, grounded in the historical context, from the Polish-Spanish dramaturgical assumptions to the bilingual libretto of the play, which premiered first in Opole and then in Almagro. Such a process of creative rewriting of our classic literature can be compared to the forgotten comedias colaboradas, which were extremely popular in Spain during the Golden Age: those multi-author dramatic adaptations often resulted from a fruitful collaboration between two, three, or even more writers and dramaturges, which nowadays seems somehow more challenging.

The literary field

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Literary Criticism ◽  
Economic Factors ◽  
Book Market ◽  
Literary Field ◽  
Nikolai Gogol ◽  
Literary Movements

With the transition from amateur societies to professional literary institutions nearing its end, the chapter turns to the so-called thick journals and their role in promoting professionalization of literature, supporting the development of literary movements such as the Natural School, and fostering the rise of mass readership in metropolitan Russia and in the provinces. The chapter also examines how institutions such as censorship, economic factors such as the growing book market, and literary factors such as mature literary criticism informed authorial choices and shaped their identity. A case study of the career and reputation of Nikolai Gogol illustrates many of these points.

Psychology as a Profession and a Science

2011 ◽  
Vol 16 (2) ◽  
pp. 111-117 ◽  
Author(s):  
Ype H. Poortinga ◽  
Ingrid Lunt
Keyword(s):  
European Association ◽  
Historical Context ◽  
Professional Psychologists

The European Association of Psychologists’ Associations (EFPA) was created in 1981 as the European Association of Professional Psychologists’ Associations (EFPPA). We show that Shakespeare’s dictum “What’s in a name?” does not apply here and that the loss of the “first P” (the adjectival “professional”) was resisted for almost two decades and experienced by many as a serious loss. We recount some of the deliberations preceding the change and place these in a broader historical context by drawing parallels with similar developments elsewhere. Much of the argument will refer to an underlying controversy between psychology as a science and the practice of psychology, a controversy that is stronger than in most other sciences, but nevertheless needs to be resolved.

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