scholarly journals On the dehumanizing universe of Henry Miller’s Tropic of Cancer: the code of obscenity and its interaction with other elements

Ars Aeterna ◽  
2016 ◽  
Vol 8 (2) ◽  
pp. 41-54
Author(s):  
Maxim Duleba
Keyword(s):  
Specific Energy ◽  
Mikhail Bakhtin ◽  
Literary Text ◽  
Poetic Language ◽  
Energy Functions ◽  
Henry Miller ◽  
Russian Literary

Abstract The following article shows why Henry Miller’s novel Tropic of Cancer should not be labelled as a pornographic nor dehumanizing novel through the prism of a scientific and nonsentimental approach. The author of the article argues that even though Henry Miller creates in his novel a certain project of dehumanization, the article explains how usage of poetic language prevents Tropic of Cancer being a sexist insult to woman as often claimed by the feministic discourse of the 1980s and 1990s. Reacting to the popular and standardized interpretational traditions, the article contributes to the discourse about the dehumanizing aspects of Henry Miller’s novel by analysing the code of obscenity present in the materia of literary text. The code of obscenity is put into context with other features of materia of Miller’s text in order to explain how its specific “energy” functions. The author of the article applies the thinking of influential Russian literary scholars such as Mikhail Bakhtin and Yuri Lotman on the autonomous world of a literary text.

LINGUISTIC REPRESENTATION OF THE EVERYDAY LIFE CATEGORY IN THE NOVEL WRITTEN BY G. SH. YAKHINA “ZULEIKHA OPENS HER EYES” AND IN ITS TRANSLATION INTO CHINESE

2021 ◽  
Vol 7 (2) ◽  
pp. 77-95
Author(s):  
Iana E. ANDREEVA
Keyword(s):  
Everyday Life ◽  
Literary Text ◽  
The Novel ◽  
Chinese Translation ◽  
Lexical Semantic ◽  
The Everyday ◽  
Russian Literary ◽  
Linguistic Methods ◽  
Linguistic Units ◽  
Language Pair

This article examines the linguistic means of representing the category of everyday life in the novel by G. Sh. Yakhina “Zuleikha opens her eyes” and in its translation into Chinese. Recently, there has been an increasing interest in the anthropology of everyday life, a broad line of research into everyday life. Comparative study of linguistic units, which reveal the essence of everyday human existence, makes it possible to identify lacunar units that are difficult to translate fiction in the context of the Russian-Chinese language pair. The scientific novelty of the research is determined by the involvement in the analysis of linguistic methods of conveying the category of everyday life in the aspect of translating a Russian literary text into Chinese. The work used the methods of comparative, component, contextual analysis, the method of linguoculturological commenting. As a result of the study, the lexical-semantic, lexical-stylistic and grammatical lacunar units were identified, which demonstrate linguocultural barriers in the process of translating a text into Chinese. A comparative analysis of the texts was carried out in order to comprehend the lexical and grammatical transformations performed in the process of translation. As a result, the main ways of compensating for the lacunae of everyday life in Russian-Chinese translation were identified: transcription, tracing, descriptive translation, lexical-semantic replacement. In addition, it was found that the study of various options for depicting everyday life in a literary text not only makes it possible to identify lacunar units of everyday life, but also reveals the artistic and philosophical intention of the work.

scholarly journals Kuasa Wacana dan Dialogis Tokoh “aku” dalam Le Dernier Jour d’un condamné

2018 ◽  
Vol 1 (1) ◽  
pp. 20-26
Author(s):  
Hendra Kaprisma
Keyword(s):  
Mikhail Bakhtin ◽  
Social Criticism ◽  
Literary Text ◽  
The Novel ◽  
Death Row

This article discusses the work of Victor-Marie Hugo entitled Le dernier jour d'un condamné " (1829). This novel tells about a death row inmate (the "I" character) who experiences an inner struggle about his desire to be free. The power of discourse and dialogue carried out by the character in the novel is the focus of analysis in this paper. The concept of power of discourse refers to Michel Foucault's thoughts and dialogical concepts adopted from Mikhail Bakhtin. This study seeks to dismantle hidden ideas as social criticism presented by the “I” character. The words that describe the anxieties of “I” seem to form a dialogue between the text and the reader. Literary readers are invited to take part in the struggle of my character's thinking about his freedom. The meaning dispute of freedom discourse that wrestles in thought becomes a condition for the formation of dialogue between the reader and the text. Therefore, the dialogic perspective makes a social literary text so that the discourse is not isolated in structure.

BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION

2020 ◽  
pp. 226-239
Author(s):  
Natal'ya Yu. Gvozdetskaya ◽  
Keyword(s):  
Old English ◽  
Russian Translation ◽  
Literary Translation ◽  
Poetic Language ◽  
Heroic Epic ◽  
The Everyday ◽  
English Translations ◽  
Russian Literary ◽  
History Of ◽  
New Compounds

The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.

What was the Victim Wearing? Literary, Economic, and Social Contexts for the Parable of the Good Samaritan

2004 ◽  
Vol 12 (2) ◽  
pp. 145-174 ◽  
Author(s):  
Michael Knowles
Keyword(s):  
Economic Activity ◽  
Mikhail Bakhtin ◽  
Social World ◽  
Social Contexts ◽  
Wine Production ◽  
Good Samaritan ◽  
Russian Literary ◽  
Roman Palestine

AbstractThis study addresses in turn specific scriptural, economic, and social contexts for Luke's parable of the Good Samaritan (Luke 10:30-35). Reference to 2 Chron. 28:15, to contemporary Samaritan economic activity (specifically, oil and wine production), and especially to contemporary conventions of dress furthers our understanding of how the literary and narrative world of the parable relates to the literal and social world of Roman Palestine. Critical categories formulated by Russian literary theorist Mikhail Bakhtin assist in clarifying the function of these references both within the narrative and for subsequent readers of Luke's text.

Dialogue as “Lyrical Hermaphroditism”: Mandel shtam's Challenge to Bakhtin

Slavic Review ◽  
1991 ◽  
Vol 50 (1) ◽  
pp. 118-126 ◽  
Author(s):  
Svetlana Boym
Keyword(s):  
Middle Ages ◽  
Mikhail Bakhtin ◽  
Ancient Greece ◽  
The Novel ◽  
Poetic Language ◽  
Osip Mandel'shtam ◽  
Different Dimensions

Osip Mandel'shtam, “Fransua Villon”Mikhail Bakhtin, “Slovo v romane”The two epigraphs disclose a crucial “genre gap” between Osip Mandel'shtam and Mikhail Bakhtin. If for Mandel'shtam dialogue is essential to lyric, for Bakhtin the dialogical discourse identifies the novel as a genre in opposition to monologic, self-centered and self-sufficient poetic language. In his essays “Fransua Villon” and “O sobesednike,” Mandel'shtam discusses different dimensions of dialogue—the dialogue between various historical epochs—modernity and Middle Ages, Ancient Greece and Renaissance, the dialogue between the author and the distant reader, and finally, the dialogue between the poet's diverse selves. The latter is called “lyrical hermaphroditism” and described in its multiple incarnations, including “ogorchennyi i uteshitel', mat’ i ditia, sudiia i podsudimyi, sobstvennik i nishchii.“ Mandel'shtam's “lyrical hermaphroditism” does not signify a Platonic ideal of androgynous wholeness, a reconciliation of two polarities.

scholarly journals Greek borrowings in Russian literary text as value translators of helinistic and byzantine culture

2019 ◽  
Vol 72 ◽  
pp. 03014
Author(s):  
Viktor Shaklein ◽  
Anastasia Skomarovskaya ◽  
Svetlana Mikova
Keyword(s):  
Literary Text ◽  
Russian Language ◽  
Contextual Analysis ◽  
Russian Culture ◽  
Philosophical Thought ◽  
Continuous Sampling ◽  
Cultural Function ◽  
Russian Literary ◽  
Xix Century ◽  
The Russian Language

The article attempts to identify the stylistic functions of Greek origin vocabulary in Russian-language texts. The material of the study are selected works of the poet of the second quarter of the XIX century, Alexei Khomyakov as one of the founders of Russian philosophical thought and the Slavophil movement. The method of continuous sampling of the text selected Greekism, found in the poems of the author, regardless of the time of their penetration into the Russian language. Using contextual analysis revealed their expressive functions. Particular attention is paid to the cultural function of Greek vocabulary as a translator of Hellenistic and Byzantine cultures that have had a significant impact on Russian culture.

scholarly journals A Poetics of Reciprocity: Elizabeth Barrett Browning's Ballads and Sonnets

2021 ◽  
Author(s):  
◽  
Rose Harriet Sneyd
Keyword(s):  
Speech Acts ◽  
Mikhail Bakhtin ◽  
Elizabeth Barrett Browning ◽  
The Novel ◽  
Poetic Language ◽  
Literary Language ◽  
Sonnets From The Portuguese ◽  
Social Act ◽  
Selection Of ◽  
The Way

<p>This thesis considers the way in which a selection of the poetry of Elizabeth Barrett Browning (henceforth to be referred to as EBB) exhibits what I will refer to as a poetics of reciprocity. My focus is on EBB’s ballads of the 1830s and 40s, her amatory sonnet sequence Sonnets from the Portuguese, and those ballads found in Last Poems. Lyric poetry is, traditionally, said to be defined by a monologic lyric speaker. Mikhail Bakhtin, for instance, pronounced that the mono-stylistic and cohesive nature of poetic language distinguished it from novelistic prose. However, it was, in part, Bakhtin’s insistence that poetry was by definition monologic that triggered my dialogic investigation of EBB’s poetry. Despite the range of work, both formal and temporal, that I consider in these three chapters, the discussion is nevertheless united by a consideration of EBB’s fascination with language, and her concomitant departure from the conventions of the monologic lyric speaker. In her early ballads, I explore EBB’s presentation of unreliable speakers and protagonists. These figures prove elusive to read because of their use of duplicitous or untrustworthy language, or they falter in the act of interpretation themselves. In EBB’s Sonnets from the Portuguese, I consider the way in which the poet opts for the language of conversation to evoke, in a fresh and powerful manner, the love between her speaker and her beloved. I suggest that this strategy, in part, compensated for the way in which clichéd literary language used to describe the experience of loving had been drained of vigour. Finally, in Last Poems I consider EBB’s presentation of speech as a social act that is influenced by the speaker’s status in society. In these late ballads, women’s attempts to wield language in an effective way are demonstrated to be dependent upon various conditions that reduce or enhance the potency of their speech acts. While Bakhtin’s essay “Discourse in the Novel,” in addition to the work of critics such as E. Warwick Slinn and Marjorie Stone, has been vital to the formulation of my thesis, I have, largely, relied upon a formalist approach to EBB’s poetry. In my close readings I examine EBB’s interrogation of language in her ballads and sonnets in light of her conscientious use, in particular, of metre and rhyme.</p>

scholarly journals Carnival against the Capital of Capital

2020 ◽  
Vol 2 (1) ◽  
pp. 265-288
Author(s):  
John L. Hammond
Keyword(s):  
Social Norms ◽  
Mikhail Bakhtin ◽  
Political Agenda ◽  
Occupy Wall Street ◽  
Wall Street ◽  
Protest Movements ◽  
The Public ◽  
Occupy Movement ◽  
Political Protests ◽  
Russian Literary

The medieval carnival, according to Russian literary scholar Mikhail Bakhtin, was a public festivity of excess in which people were free to violate social norms and subvert prevailing authority. Recent analysts have applied Bakhtin’s concept of carnival to contemporary political protests that incorporate a playful, culture-defying element. But the term has been used in multiple and contradictory ways. For Bakhtin, carnival is an expressive pattern pervasive in a culture and has no instrumental purpose (what I call “communal carnival”), while carnivalesque protest consists of specific practices with an explicit political agenda (“intentional carnival”). The Occupy Wall Street movement can be analyzed as both communal and intentional carnival. Protest movements use humor to subvert received doctrines; humorous performances are addressed to participants, the public, and repressive forces. Some critics regard carnivalesque performances as frivolous and demeaning of serious political causes. I conclude by discussing the effect of carnival on the Occupy movement.

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