scholarly journals Odisej kao prototip junaka bajke

2012 ◽  
Vol 7 (1.) ◽  
Author(s):  
Robert Bacalja ◽  
Goran Pavel Šantek
Keyword(s):  
Significant Influence ◽  
Literary History ◽  
Narrative Structure ◽  
The Other ◽  
Other Hand ◽  
Literary Characters ◽  
The One

Homer's epics had significant influence on the development of narratives. In literary history Homer's opus was regarded as the beginning of literature in European cultural realm. On the other hand, one of the most important literary characters in the Antiquity was "Odysseus – the one that starts an extraordinary sequence of literary heroes in the following centuries". This paper deals with Odysseus' ordeals – from Troy to Ithaca, which influenced the formulation of paradigm of fairytale hero's actions. Ordeals are marked by obstacles that are placed by gods, and in fairytales those are typical actions of heroes who overcome obstacles in order to achieve justice or undo the wrong. The authors select the motives from the Odyssey that are integrated into the narrative structure of the fairytale. Those motives are based on mythological perception of life and world.

PRAGMATIC, LINGUAL CULTURAL SENSES AND ETHNIC SYMBOLS IN ARTISTIC TRANSLATION

2021 ◽  
Vol 2021 (32) ◽  
pp. 130-148
Author(s):  
Oleh Tyshchenko
Keyword(s):  
Short Story ◽  
Speech Acts ◽  
Narrative Structure ◽  
The Other ◽  
Grammatical Structure ◽  
Expressive Speech ◽  
Other Hand ◽  
English Translations ◽  
The One ◽  
The Master And Margarita

The article considers performative speech acts (expressives, commissives, wishes, curses, threats, warnings, etc.) and generally exclamatory phraseology in the original and translation in terms of the function of the addressee, the specifics of the communicative situation, the symbolism and pragmatics of the cultural text. Through cultural and semiotic reconstruction of these units, their semantic and grammatical structure and features of motivation in several linguistic cultures were clarified. Collectively, these verbal acts, on the one hand, mark the semiotic structure of the narrative structure of the text, and on the other hand, indicate the idiostyle of a particular author or characterize the speech of the characters and the associated range of emotions (curses, invectives, cries of indignation, dissatisfaction, etc.). Several translated versions of M. Bulgakov’s novel «The Master and Margarita» (in Ukrainian, Polish, Slovak and English) and English translations of M. Kotsyubynsky’s novel «Fata Morgana» and Dovzhenko’s short story «Enchanted Desna» constitute the material for the study. The obtained results are essential for elucidating the specifics of the national conceptual sphere of a certain culture and revealing the types of inter lingual equivalents, idiomatic analogues in the transmission of common ethno-cultural content. This approach can be useful for a new understanding of domestication and adaptation in translation, translation of culturally marked units, onyms, mythological concepts, etc. as a specific translation practices. There was further developed the theory of phatic and performative-expressive speech acts in lingual cultural comprehension.

Składniowa „mówioność” w powieści Doroty Masłowskiej „Kochanie, zabiłam nasze koty”

2019 ◽  
Vol 10 ◽  
pp. 153-167
Author(s):  
Magdalena Nowakowska ◽  
Keyword(s):  
Spoken Language ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Literary Characters ◽  
The One ◽  
Colloquial Style

Syntactic treatments, which imitate spoken language, are crucial determinants of the colloquial style, alongside lexis. Responsible for the impression of interacting or communing with the spontaneously created text, which is a record of the living language of the narrator and characters, they are concerned with numerous simplifications and schemes. Among many diversified linguistic phenomena found in the novel by D. Masłowska, entitled “Kochanie, zabiłam nasze koty” (English title: “Honey, I killed our cats”, seemingly contradictory syntactic tendencies are used; the elliptical nature of syntax on the one hand, and, on the other hand, numerous repetitions both with regards to lexis and the construction of sentences. The segmentation or breaking up of utterances, as well as their excessive expansions, is similarly contradictory. Drawing from the spoken language aims to connect the at times unreal word depicted in the novel with the reality of the recipient, and to present the literary characters in a reliable way, more often than not associated with ordinariness.

The comparative context and methodology of literary history in Hanuš Jelínek’s Histoire de la littérature tchèque

2016 ◽  
Vol 61 (1-2) ◽  
pp. 15-20
Author(s):  
Miloš Zelenka
Keyword(s):  
Literary History ◽  
Cultural Policy ◽  
The Other ◽  
European Perspective ◽  
Cultural Relations ◽  
Other Hand ◽  
Aesthetic Form ◽  
History Of ◽  
The One ◽  
Synthetic Work

Abstract The paper evaluates the importance of the French-written Histoire de la littérature tchèque I–III [The History of Czech Literature] (1930–1935) by Hanuš Jelínek (1878–1944), a leading expert and authority on French–Czech cultural relations. His synthetic work destined for French readers and completed outside the modern methodological context of the 1930s draws on Ernest Denis’ concept of Czech literary development as the ‘literature of struggle’ against the German element, while its composition is inspired by Arne Novák’s history written in German, and his expository method follows in the footsteps of his mentor Jaroslav Vlček. Therefore, Jelínek conceives literary development as a continual motion of ideas within an aesthetic form, as a subject-stratified, multi-layered story unified by the central outlook enabling him on the one hand to emphasise the nationally defensive aspect of Czech literature, and, on the other hand, to present it through parallels and illustrative examples within the European perspective. Jelínek’s Histoire, supplemented with a number of his own translations of Czech authors, is a particular narrative–historical genre – the epitome of the young Czech nation’s cultural policy and an archetype of cordial relations between the Czechoslovak and French cultures.

The intelligentsia's two visions of urban modernity: Gómez's Caracas, 1908–35

Urban History ◽  
2001 ◽  
Vol 28 (1) ◽  
pp. 84-105 ◽  
Author(s):  
Arturo Almandoz
Keyword(s):  
The Other ◽  
Political Class ◽  
Urban Modernity ◽  
Other Hand ◽  
The Social ◽  
Literary Characters ◽  
The One

This article focuses on the disparity between two urban reports of the Gómez regime (1908–35). Relying on the theoretical platform provided by European positivism, there is, on the one hand, the erudite ideologists' justification of the material achievements of the dictatorship. On the other hand, there is the critique present in the literary characters of the works written by the young political class, where the parochialism of Caracas served as an excuse to attack the social abuses and cultural obscurity of one of Latin America's longest dictatorships.

scholarly journals T.T. Cloete as literary critic, theorist and literary historian (Part 2): T.T. Cloete as theorist of literary history

Literator ◽  
2016 ◽  
Vol 37 (1) ◽  
Author(s):  
Hendrik Van Coller
Keyword(s):  
Literary History ◽  
Literary Work ◽  
The Other ◽  
Literary Texts ◽  
Personal View ◽  
Work Of Art ◽  
Other Hand ◽  
Literary Work Of Art ◽  
The One ◽  
Literary System

It had already been stated that Siegfried Schmidt (in Hjort 1992) discerned four ‘roles’ within the Literary System, that of literary production, dissemination, reception and literary processing. According to this definition, T.T. Cloete, the well-known author and critic, had played all of these roles. In this second part of a two-part article the focus is on Cloete as a literary historian and in particular on his theoretical (methodological) perceptions pertaining to literary history. It is abundantly clear that in all of his different roles a historical awareness was always present. For Cloete the literary work of art was inbedded in a historical timeframe which imposed hermeneutical imperatives on the critic; on the other hand the literary work of art is present in the here and now and accessible to any skilled reader. One of the objectives of this study is to argue that there was thus an implied dichotomy in Cloete’s thinking on literary history. On the one hand there had been a relativistic view that positioned literary texts in the past, and on the other hand a normative view that implied that certain texts (due to inherent qualities like integration and complexity) could gain a certain permanence. In the last part of this article-true to the narrative approach, an implied confrontation with Cloete’s (methodological) views of literary history lead to a personal standpoint as a confrontation with the self (cf. Sools 2009:27). This explication of a personal view on the writing of a literary history (as an implied homage to Cloete) concluded the article.

From 'Ā'esha to Nur Jahān: The Shaping of a Classical Persian Poetic Canon of Women

2009 ◽  
Vol 2 (2) ◽  
pp. 148-164 ◽  
Author(s):  
Sunil Sharma
Keyword(s):  
Eighteenth Century ◽  
Direct Effect ◽  
Literary History ◽  
Literary Tradition ◽  
The Other ◽  
Women Poets ◽  
Cultural Shift ◽  
Other Hand ◽  
The One ◽  
The Way

AbstractThe eighteenth century witnessed an interest in Persian women poets and attempts were made by writers of tazkeras to create a female canon of poets. The cultural shift in the Iranian-Indian interface at this time had a direct effect on the writing of Persian literary history that, on the one hand, resulted in the desire to maintain a universal vision regarding the Persianate literary past, exemplified by such writers as Vāleh Dāghestāni in Riāz al-sho' arā', and on the other hand, witnessed the increasingly popular move towards a more local and parochial version of the achievements of poets, as seen in Āzar Bēgdeli's Ātashkada and other writers of biographical dictionaries. The tri-furcation of the literary tradition (Iran, Turan [Transoxiana], India) complicated the way the memory of women poets would be accommodated and tazkera writers were often unencumbered by issues of nationalism and linguistic purity on this subject. However, ultimately the project of canonization of classical Persian women poets was a failure by becoming all inclusive.

scholarly journals Un sistema mitico in continua evoluzione: le grandi parodie Disney

2021 ◽  
Vol 12 (1) ◽  
pp. 17
Author(s):  
Andrea Cannas
Keyword(s):  
The Other ◽  
Indelible Mark ◽  
Fictional World ◽  
Mickey Mouse ◽  
Other Hand ◽  
Literary Characters ◽  
The One ◽  
Crucial Test ◽  
Intertextual Dialogue

ABSTRACT: Il fitto dialogo intertestuale con i classici di ogni tempo è stato inteso dagli autori della Disney Italia come una pratica di cannibalizzazione delle fonti; d’altra parte il confronto con la dimensione letteraria, estendendosi nel tempo ‒ dalla fine degli anni Quaranta a oggi ‒, ha lasciato un’impronta indelebile sulle Grandi Parodie: per un verso esse hanno acquisito uno spessore testuale inedito, riconnettendosi alle grandi matrici narrative in cui affonda le proprie radici il più vasto mondo della finzione; per l’altro hanno costituito un formidabile banco di prova per la variegata compagine Disney: gli eroi del fumetto, da Topolino a Paperino, si sono cimentati nell’impresa di interpretare il ruolo e assumere le fattezze dei più rinomati protagonisti della pagina letteraria mostrando al contempo una grande duttilità e una spiccata personalità. Il complesso dei personaggi Disney funziona in definitiva come un sistema mitico: il corpo delle loro storie costituisce un intero aperto a un continuo accrescimento ed è in effetti costantemente aggiornato da una pluralità di autori che rende il sistema perennemente sincronico col tempo dei lettori.Parole chiave: Fumetto. Disney. Grandi Parodie. Mito. Intertestualità. RESUMO: O estreito diálogo intertextual com os clássicos de várias épocas foi entendido pelos autores da Disney Itália como uma prática de canibalização das fontes, que proporcionou o confronto com a dimensão literária, estendendo-se no tempo ‒ do fim dos anos 40 a hoje ‒, e deixou uma marca indelével nas Grandes Paródias: por um lado, estas adquiriram um peso textual inédito, reconectando-se com as grandes matrizes narrativas nas quais fincam as suas raízes no mais vasto mundo da ficção; por outro ainda  constituíram um formidável teste para a multifacetada equipe Disney: os heróis dos quadrinhos, de Mickey a Donald, cimentaram-se na empreitada de interpretar os papéis e assumir os perfis dos mais renomados protagonistas das páginas literárias, demostrando, ao mesmo tempo, uma grande flexibilidade e uma marcada personalidade. O conjunto dos personagens Disney funciona definitivamente como um sistema mítico: o corpo das suas histórias constitui um todo, aberto em uma contínua evolução, e é, de fato, constantemente atualizado por uma pluralidade de autores que torna tal sistema perenemente sincrônico com o tempo dos leitores.Parole chiave: História em quadrinhos. Disney. Grandi Parodie. Mito. Intertextualidade. ABSTRACT: An intense intertextual dialogue with the classics of all time has been intended by Disney Italian authors as a practice of source “cannibalization”. Their long-lasting  dialogue with the literary dimension left an indelible mark on the Grandi Parodie: on the one hand they acquired an unprecedented textual depth, connecting them to the major narrative roots of the fictional world; on the other hand, they represented a crucial test for the varied team of Disney characters: the heroes of comics, from Mickey Mouse to Donald Duck, undertook the remarkable feat of interpreting the roles of renowned literary characters, showing a great adaptability as well as a strong personality. Disney characters function fundamentally as a mythical system: their stories constitutes an ever-changing whole, constantly updated to the time of their readers.Keywords: Comics. Grandi Parodie. Disney. Parody. Myth. Intertextuality.

Character

2017 ◽  
Author(s):  
Julian Murphet
Keyword(s):  
19Th Century ◽  
Literary Theory ◽  
Narrative Discourse ◽  
The Other ◽  
Late 19Th Century ◽  
Complex Processes ◽  
Other Hand ◽  
Literary Characters ◽  
The One

Character is a property of narrative and discursive textuality, even as it is also a moral and ethical category referring to individual and collective norms of behavior and motive. This double valence has affected the concept since Aristotle and Plato first began the unfinished, centuries-long project of literary theory. On the one hand, stemming from Aristotle, there has been a tradition of formalist conceptions of character, understanding it as a device used by writers to drive narrative momentum and effect transformations within the discourse. The domain of action, and its variously entailed reactions and consequences, was thought to belong to the agents of narrative discourse by rights, while what was generally called their “character” typically concerned the incidental qualifications and explanations of their actions in speech and thought. Once that distinction is made, however, there are smaller and smaller units into which agency can logically be subdivided, and more and more arbitrary and capricious qualities of character used to flesh out an abstract narratological principle. The histories of formalism, structuralism, and poststructuralism attest to this labor of specialization and fissiparous subdivision of the bound concepts of agent and character. On the other hand, stemming from Plato, we see a centuries-long interest in the mutually interactive relations between imaginary persons, or fictional selves, and the fashioning of public or social selves in regimes of education and discipline. The question of the role of literary characters in the formation of good citizens, or indeed delinquent ones, is one that refuses to go away, since it has proven impossible to separate fiction from reality in the complex processes of self-fashioning through which every subject must go. One last matter of interest has exerted more theoretical influence over the concept in recent years, and that is the topic of affects: the qualities and intensities of human feelings can be seen to have had a major bearing on the writing and elaboration of fictional beings, and vice versa, at least since the late 19th century.

Conclusion

2020 ◽  
pp. 169-174
Author(s):  
William Ghosh
Keyword(s):  
Literary History ◽  
Vantage Point ◽  
The Other ◽  
The South ◽  
Caribbean History ◽  
Other Hand ◽  
The One ◽  
The Way

Starting from a reading of his late travel book A Turn in the South, this chapter describes how, late in life, Naipaul came to understand his own specific historical vantage point, as a writer with a colonial upbringing, who had lived to see independence. Meditating on the legacy of Booker T. Washington, Naipaul reflects on ‘the prisons of the spirit men create for themselves and for others – so overpowering, so much part of the way things appear to have to be, and then, abruptly, with a little shift, so insubstantial’. My reading of A Turn in the South leads to a discussion of Naipaul’s position within Caribbean history, and literary history. I outline the ways in which Naipaul’s work, on the one hand, now seems outdated, and how, on the other hand and in other ways, his work may still be important today.

Stories and the Self

2020 ◽  
Vol 32 (2) ◽  
pp. 47-58 ◽  
Author(s):  
Stefan Krause ◽  
Markus Appel
Keyword(s):  
Meta Analysis ◽  
The Self ◽  
The Other ◽  
Lower Degree ◽  
Contrast Effects ◽  
Self Perception ◽  
Self Perceptions ◽  
Other Hand ◽  
The One ◽  
Implicit And Explicit

Abstract. Two experiments examined the influence of stories on recipients’ self-perceptions. Extending prior theory and research, our focus was on assimilation effects (i.e., changes in self-perception in line with a protagonist’s traits) as well as on contrast effects (i.e., changes in self-perception in contrast to a protagonist’s traits). In Experiment 1 ( N = 113), implicit and explicit conscientiousness were assessed after participants read a story about either a diligent or a negligent student. Moderation analyses showed that highly transported participants and participants with lower counterarguing scores assimilate the depicted traits of a story protagonist, as indicated by explicit, self-reported conscientiousness ratings. Participants, who were more critical toward a story (i.e., higher counterarguing) and with a lower degree of transportation, showed contrast effects. In Experiment 2 ( N = 103), we manipulated transportation and counterarguing, but we could not identify an effect on participants’ self-ascribed level of conscientiousness. A mini meta-analysis across both experiments revealed significant positive overall associations between transportation and counterarguing on the one hand and story-consistent self-reported conscientiousness on the other hand.

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