scholarly journals The Placement of Lucian’s Novel True History in the Genre of Science Fiction

2016 ◽  
Vol 21 (1) ◽  
pp. 158
Author(s):  
Katelis Viglas
Keyword(s):  
Science Fiction ◽  
The Novel ◽  
Lucian Of Samosata ◽  
Ancient Greek ◽  
Classical World ◽  
Starting Point ◽  
History Of ◽  
The Difference ◽  
Literary Model ◽  
History Of Literature

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large influence on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity.

scholarly journals Teoria systemu społecznego obiegu literatury

2019 ◽  
Author(s):  
Krzysztof Kozłowski ◽  
Marek Kasprzyk ◽  
Verner Faulstich
Keyword(s):  
The Novel ◽  
Media Technology ◽  
Radio Drama ◽  
Main Hypothesis ◽  
Feature Film ◽  
The Social ◽  
History Of ◽  
The Difference ◽  
Definition Of ◽  
History Of Literature

Faulstich Werner, Teoria systemu społecznego obiegu literatury [Theory of the Social System of Literature Circulation]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 435–451. ISSN 1644-6763. DOI 10.14746/pt.2019.32.24. The main hypothesis of literature circulation in a theory system can be formulated as follows: literature circulation is an inextricable element of literature, while literature constitutes an integral part of literature circulation. To provide evidence to this supposition, it is necessary to draw from the definition of a system proposed by Helmut Wilke in his Systemtheorie (1982). The social circulation of literature demands the emergence of a series of subsystems which, as part of the system, are characterised by their own factors, relations and ways of organisation. The most important category, enabling us to tell the difference between various subsystems of the literature circulation, is the medium. It goes without saying that any kind of literature is passed on via a particular kind of medium, i.e. the novel through the medium of the book, radio drama through the medium of radio, the feature film through the medium of film, stage drama through the medium of theatre, etc. It is impossible to separate “Literature” from “Circulation”. As a consequence, the history of literature is neither a pure history of a particularpiece or utopia (the latter being the approach of the idealistic literary studies), nor pure history of media (technology) as a part of a general history of communication and society (which is the journalism approach). Instead, it clearly separates itself from both, i.e. as a history of a mediated utopia.

scholarly journals Complexes of Emotions in Joseph and Aseneth

2021 ◽  
Vol 30 (3) ◽  
pp. 133-155
Author(s):  
Tyler Smith
Keyword(s):  
Ancient Greek ◽  
Emotional Aspect ◽  
Complex Emotions ◽  
Jewish Text ◽  
History Of ◽  
History Of Literature ◽  
Joseph And Aseneth ◽  
Greek Novel

The ancient Greek novel introduced to the history of literature a new topos: the “complex of emotions.” This became a staple of storytelling and remains widely in use across a variety of genres to the present day. The Hellenistic Jewish text Joseph and Aseneth employs this topos in at least three passages, where it draws attention to the cognitive-emotional aspect of the heroine’s conversion. This is interesting for what it contributes to our understanding of the genre of Aseneth, but it also has social-historical implications. In particular, it supports the idea that Aseneth reflects concerns about Gentile partners in Jewish-Gentile marriages, that Gentile partners might convert out of expedience or that they might be less than fully committed to abandoning “idolatrous” attachments. The representations of deep, grievous, and complex emotions in Aseneth’s transformational turn from idolatry to monolatry, then, might play a psychagogic role for the Gentile reader interested in marrying a Jewish person.

scholarly journals “In a Sea of Wonders:” Eastern Europe and Transylvania in the Irish-Language Translation of Dracula

2020 ◽  
Vol 12 (1) ◽  
pp. 70-83
Author(s):  
Sorcha De Brún
Keyword(s):  
Original Work ◽  
Figurative Language ◽  
Language Translation ◽  
Point Of View ◽  
Eastern European ◽  
The Novel ◽  
European Language ◽  
Irish Language ◽  
Starting Point ◽  
History Of

Abstract The publication of the Irish-language translation of Dracula in 1933 by Seán Ó Cuirrín was a landmark moment in the history of Irish-language letters. This article takes as its starting point the idea that language is a central theme in Dracula. However, the representation of Transylvania in the translation marked a departure from Bram Stoker’s original. A masterful translation, one of its most salient features is Ó Cuirrín’s complex use of the Irish language, particularly in relation to Eastern European language, character, and landscapes. The article examines Ó Cuirrín’s prose and will explore how his approaches to concrete and abstract elements of the novel affect plot, character, and narration. The first section explores how Dracula is treated by Ó Cuirrín in the Irish translation and how this impacts the Count’s persona and his identity as Transylvanian. Through Ó Cuirrín’s use of idiom, alliteration, and proverb, it will be shown how Dracula’s character is reimagined, creating a more nuanced narrative than the original. The second section shows how Ó Cuirrín translates Jonathan Harker’s point of view in relation to Dracula. It shows that, through the use of figurative language, Ó Cuirrín develops the gothic element to Dracula’s character. The article then examines Ó Cuirrín’s translations of Transylvanian landscapes and soundscapes. It will show how Ó Cuirrín’s translation matched Stoker’s original work to near perfection, but with additional poetic techniques, and how Ó Cuirrín created a soundscape of horror throughout the entirety of the translation.

scholarly journals FROM PROMETHEUS TO AMRAN: ON THE CHAINED HERO IN THE OSSETIAN EPIC

Kavkaz-forum ◽  
2021 ◽  
Author(s):  
Р.Н. АБИСАЛОВА
Keyword(s):  
Greek Mythology ◽  
Ancient Greek ◽  
The Caucasus ◽  
National Myths ◽  
The People ◽  
The World ◽  
History Of ◽  
Ancient Times ◽  
The Difference

В статье рассмотрен один из мотивов осетинского Даредзановского эпоса – мотив прикованного героя, еще в древности вошедший в мифологию, фольклор, литературу многих народов и получивший название «мотив Прометея». Образ Прометея относится к «вечным образам» мировой художественной культуры. История прикования и освобождения Прометея и в древнегреческой мифологии, и в трагедии Эсхила позиционируется как топонимически привязанная к Кавказу. Именно здесь сюжет о наказанном Богом и прикованном богатыре получил распространение в национальных мифах и эпических преданиях – грузинских, осетинских, кабардинских, абхазских, вайнахских, армянских и др. Эти лаконичные предания об Амиране-Амране, по мнению Вс.Ф. Миллера, – кульминационные во всех источниках, рассказывающих об этом герое. Рассмотрены как древнегреческий Прометей, так и кавказские, в первую очередь осетинские, прикованные герои, представленные в работах Вс.Ф. Миллера, Г.Н. Потанина, Дз. Гатуева, Д.А. Калоевой, З.Г. Тменовой, Ю.А. Дзиццоты, Х.Ф. Цгоева и др. Образ Амирана сравнивается с соответствующими ему героями кавказских эпосов. При всей схожести мотивов богоборчества и наказания героя прикованием к скале или столбу нельзя не отметить отличия осетинского Амирана от остальных. В Даредзановских сказаниях он героическая личность, истинный богатырь, совершающий множество подвигов, побеждающий великанов, помогающий всем нуждающимся. Сын племянницы Бога, герой близок к народу, он побеждает врагов не только ради демонстрации силы, ловкости, хитрости, но и для спасения родных и друзей. В отличие от большинства кавказских прикованных героев, освобождение Амирана не предвещает гибель мира, напротив, осетинский Амиран, в случае освобождения, даст людям свободу и счастье. Многие мотивы в преданиях об Амране соотносятся с мотивами Нартовского эпоса. Амиран-Амран приравнивается к любимым героям осетинской Нартиады – Сослану, Батразу, Урузмагу, Шатане. В работе его образ рассмотрен для подтверждения объективной закономерности подобной репрезентации осетинского героя. The article deals with one of the motives of the Ossetian Daredzanian epic − the motive of the chained hero, which in ancient times entered the mythology, folklore, literature of many peoples and was called the "Prometheus motive". The image of Prometheus belongs to the "eternal images" of world art culture. The history of the chaining and liberation of Prometheus, both in ancient Greek mythology and in the tragedy of Aeschylus, is positioned as toponymically tied to the Caucasus. It was here that the plot about the God-punished and chained hero became widespread in national myths and epic legends − Georgian, Ossetian, Kabardian, Abkhaz, Vainakh, Armenian, etc. These laconic legends about Amiran-Amran, according to Vs.F. Miller, are culminating in all the sources telling about this hero. Both the ancient Greek Prometheus and the Caucasian, primarily Ossetian, chained heroes presented in the works of Vs.F. Miller, G.N. Potanin, Dz. Gatuev, D.A. Kaloeva, Z.G. Tmenova, Yu.A. Dzizzoity, Kh.F. Tsgoev and others. The image of Amiran is compared with the corresponding heroes of the Caucasian epics. With all the similarity of the motives of fighting against God and the punishment of the hero by being chained to a rock or a pillar, one cannot fail to note the difference between the Ossetian Amiran and the others. In Daredzan's legends, he is a heroic person, a true hero who performs many feats, conquers giants, and helps all those in need. The son of the niece of God, the hero is close to the people, he defeats enemies not only for the sake of demonstrating strength, dexterity, cunning, but also to save family and friends. Unlike most of the Caucasian chained heroes, the release of Amiran does not portend the death of the world, on the contrary, the Ossetian Amiran, if liberated, will give people freedom and happiness. Many motives in the legends about Amran correlate with the motives of the Nartov epic. Amiran-Amran is equated with the favorite heroes of the Ossetian Nartiada - Soslan, Batraz, Uruzmag, Shatana. In the work, his image is considered to confirm the objective regularity of such a representation of the Ossetian hero.

scholarly journals Two crossbows and a carbine: Out of the commentary on A.N. and B.N. Strugatsky’s novel “Hard to be a God”

2020 ◽  
pp. 51-58
Author(s):  
Irina N. Arzamastseva ◽  
Alexander V. Kuznetsov
Keyword(s):  
Science Fiction ◽  
Research Methods ◽  
Social Problems ◽  
The Novel ◽  
The Past ◽  
The Social ◽  
Fiction Writers ◽  
History Of ◽  
Sea Monster ◽  
Intertextual Connections

The article is devoted to the study of the functions of the characters’ weapons in A.N. and B.N. Strugatsky’s novel “Hard to be a God”. It is important for writing a commentary on the prologue of the novel. The authors used the historical-typological and mythopoetic research methods. As the result of reviewing the history of words-concepts, as it made by A.N. Veselovsky, the authors managed to study the intertextual connections of “Hard to be a God” with V.T. Shalamov’s poem “Crossbow” and his story “May”, as well as N.S. Gumilev’s poem “Just looks through the cliffs...” and E. Hemingway’s play “The fifth column”. Through these connections, the image of weapons is formed in the work of science fiction writers. It is necessary to destruct the mythological enemy – the sea monster, which symbolizes the social evil within the novel framework. As we have found out, the reason for such an intricate symbolism lies in the peculiarities of the age: the image of the sea monster standing for public evil is due to historical reasons. And since the elimination of social problems by such radical methods, according to the authors, is impossible, the movement towards a bright future should be only gradual and peaceful. As in reality, weapons are fundamentally unable to perform their task. Moreover, the weapon is dangerous for its owner, which indicates the ambivalence of the image. In addition, the comparison, important for the novel “Hard to be God”, of the past and future appears the first in the comparison of crossbows and carbines, further developing by other means. Weapons are involved in creating a number of important motives: doom, the danger of using force, and interference in the course of history.

scholarly journals Amour et mort, vie de sainteté dans la littérature et la spiritualité à València au XVème siècle: de saint Vicent Ferrer à Sor Isabel de Villena

2019 ◽  
Vol 14 ◽  
pp. 276
Author(s):  
Dominique De Courcelles
Keyword(s):  
Iberian Peninsula ◽  
Religious History ◽  
Spiritual Life ◽  
Moral Reform ◽  
The Novel ◽  
15Th Century ◽  
History Of ◽  
History Of Literature ◽  
The Trinity ◽  
Take All

Résumé: Le Royaume de València, au XVème siècle, tient une place majeure dans l’histoire de la littérature et de la spiritualité et dans l’histoire religieuse de la péninsule Ibérique, cependant que s’achève la Reconquista et que s’unifient les Espagnes. Une même quête de réforme morale et d’élévation spirituelle s’exprime aussi bien dans les sermons du dominicain Fra Vicent Ferrer que dans les traductions d’auteurs classiques et de la Renaissance effectuées par un autre dominicain, Fra Antoni Canals. La spiritualité valencienne est militante : elle veut convaincre, séduire, donner et parfois imposer ce qu’elle reconnait comme indispensable à la perfection et au salut. Les héros valenciens du XVème siècle sont des chevaliers et des religieux, des saints et des saintes. Ils manient l’épée ou la parole, ou les deux, pour défendre les valeurs du christianisme, l’art d’aimer et de mourir chrétiennement, la vérité, la justice, la paix. C’est ainsi que l’anonyme roman de Curial e Güelfa ou le Cant espiritual du chevalier Ausiàs March témoignent de la jonction entre chevalerie et théologie, cependant que Joanot Martorell, chevalier auteur du roman de Tirant lo Blanc, et Sor Isabel de Villena, abbesse des clarisses de la Trinité, auteur d’une Vita Christi, désignent, chacun à sa mesure, une ouverture spirituelle de l’histoire, une nécessaire conversion intérieure. Des joutes poétiques et théologiques réunissent clercs et chevaliers, entrelaçant sainteté et amour sensible et permettant l’élaboration des goigs, célèbres prières chantées qui prendront toute leur importance dans la vie spirituelle des fidèles après le concile de Trente.  Mots clef: Chevalerie, Joutes, poétiques, Littérature, Spiritualité, Théologie Abstract: The Kingdom of Valencia, in the 15th century, holds a major place in the history of literature and spirituality and in the religious history of the Iberian Peninsula, while the Reconquista is completed and the Spanish are united. The same quest for moral reform and spiritual elevation is expressed in the sermons of the Dominican fra Vicent Ferrer as well as in the translations of classical and Renaissance writers by another Dominican, Fra Antoni Canals. Valencian spirituality is militant: it wants to convince, seduce, give and sometimes impose what it recognizes as indispensable to perfection and salvation. Valencian heroes of the 15th century are knights and religious and saints. They wield the sword or the word, or both, to defend the values of Christianity, the art of loving and dying Christianity, truth, justice, peace. Thus the anonymous novel by Curial e Güelfa or the Cant espiritual of the knight Ausiàs March testify to the junction between chivalry and theology, while Joanot Martorell, knight author of the novel of Tirant lo Blanc, and Sor Isabel de Villena, Abbess of the clares of the Trinity, author of a Vita Christi, designate, each to its own measure, a spiritual opening of history, a necessary interior conversion. Poetic and theological games bring together clergy and knights, intertwining holiness and sensitive love and allowing the development of goigs, famous sung prayers that will take all their importance in the spiritual life of the faithful after the Council of Trent.Keywords: Chivalry ,Poetic, Jousting, Literature, Spirituality, Theology.

scholarly journals Fenomena Multikulturalisme Dalam Musik: Sebuah Telaah Elemen Elemen Musikal Non Barat dalam Karya Komposer Musik Barat

2012 ◽  
Vol 10 (1) ◽  
Author(s):  
Esy Maestro
Keyword(s):  
American Music ◽  
World Music ◽  
The Political ◽  
Music Culture ◽  
African American Music ◽  
The World ◽  
Long Time ◽  
History Of ◽  
The Difference ◽  
History Of Literature

The study of the music phenomenon has long been an important discussion due to its role in upholding the accretion of the history of literature of the world of music. Among the two poles music’s idealism, which is between European and American, they both have different opinion about multiculturalism. The multiculturalism in the Europe is the unification of the music culture with the lowest integrity level between the music cultures which possibly experience the multicultural process. It means, with the music culture base which just established like music classic, so that the multicultural process will cannot be seen easily from the music which recommended, because its interference usually dissolved is the music substance which intrinsically used, at rhythmic, melodies, form and others.  Meanwhile the multiculturalism phenomenon in the America will offers the explicit structures, which accurately occurs the powerful and influential multiculturalism process. This thing also based on the heterogeneous America’s people as the interference of many cultures by means of the difference music. The multiculturalism music in America also develop faster because in its accretion it influence with the political period and the crime-infested unsafe makes the countries which moves to America feels that they the same. So, it is not surprise if the performance of the African-American music or the America’s World Music will demonstrate the music multiculturalism process which actual and has been growth for a long time. Keywords: the music, multiculturarism, America and Europe

scholarly journals Suvremena strujanja u komparatistici

2008 ◽  
Vol 3 (1.) ◽  
Author(s):  
Katarina Ivon
Keyword(s):  
Comparative Literature ◽  
Cultural Studies ◽  
Literary History ◽  
European Studies ◽  
Research Paradigms ◽  
Starting Point ◽  
History Of ◽  
History Of Literature ◽  
Focus Point

This paper is a preview of contemporary trends in comparative literature. The starting point of this research is the fact that change of research paradigms is a key feature of contemporary comparative literature. Change of research paradigms refers to imagery research, a new focus point of comparative literature that deals with images of certain country and its culture in another cultural surrounding, and to the notion of intercultural history of literature, which also includes the concept of interliterary community. The author also presents two new tendencies in contemporary comparative literature: cultural studies and European studies. The paper analyzes the responses of these new trends in Croatian literary history, but it also focuses on their impact on further researches in Croatian literature.

scholarly journals Positivism in the Mirror of Carnival: The Rabelaisian Chronotope in the Works of E. Zola

2021 ◽  
Vol 26 (3) ◽  
pp. 519-528
Author(s):  
Olga V. Albrekht
Keyword(s):  
Point Of View ◽  
Universal Model ◽  
The Novel ◽  
Material World ◽  
French Renaissance ◽  
Cultural Conditions ◽  
History Of ◽  
Cultural Code ◽  
History Of Literature ◽  
Main Material

This paper deals with using the Rabelaisian cultural code, which the author of the article suggests to be applied to the reading and interpreting of some novels by E. Zola. From the authors point of view, such an experiment allows us to look at French naturalism from a new point of view, as a variant of a typologically recurring phenomenon in the history of literature. For the French naturalistic novel Rabelaisianism is considered as a kind of meaning-generating model, as appropriated communication or as an element of traditional literary discourse. The latter is actualized in a period when the cultural conditions and the nature of the main ideological and aesthetic conflicts became similar to the time of the French Renaissance. The author attempts to apply the theory of the carnival chronotope, which is developed by M.M. Bakhtin, to the interpretation of some of E. Zolas texts. Meanwhile, the concept of the chronotope is considered more widely than that of M.M. Bakhtin: it is proposed to understand the chronotope as a universal model of space-time relations in the novel. The author also views the poetics of the real in the naturalistic novel through the prism of the carnival (i. e. extremely detailed material world); as examples, the motives of food and wine, as well as the motive of rebellion and war as a variant of the war for food and the carnival battle of Shrovetide (pancake week) and Lent are analyzed in the article. The main material used for the analysis is taken from the novels Le Ventre de Paris , 1873 ( The Belly of Paris ), LAssommoir , 1877 ( The Trap ), and Germinal , 1885, by E. Zola.

Sign in / Sign up

Export Citation Format

Share Document