scholarly journals The illustrative concept of the production of “City” by V.Pidmohylnuy

2018 ◽  
pp. 46-54
Author(s):  
N. Ivanova ◽  
А. Mykhailova
Keyword(s):  
Publishing House ◽  
Marketing Strategies ◽  
The Novel ◽  
Modern City ◽  
Avant Garde ◽  
New Meanings ◽  
Publishing Policy ◽  
Visual Text ◽  
Publishing Strategy ◽  
The City

The research is devoted to the analysis of the editorial and publishing policy of “Solomiia Pavlychko’s Publishing House “Osnovy”. One of the important tools of “Osnovy” publishing strategy at the present stage is the modernization of its product, which consists of the original visualization of the artistic text. In accordance with the new publishing policy, “Osnovy” launches the “Alternative Series of Ukrainian Classics” with the illustrations of young Ukrainian artists.The scientific novelty of our research is the conceptual comprehension of the publishing project “Alternative Series of Ukrainian Classics”. The visual version of the novel “The City” by V. Pidmohylnyi is of special attention. In the study, we suggest that the name “Alternative Series ...” is a successful marketing technique, as for many readers, classics is related to the official ones, sometimes boring and formalized “school” ideas about literature. So, it was planned that the concept “alternative” would become a modern slogan for the project and expand the audience of potential readers. Thus, the works of Ukrainian classics received an entirely new illustration for a modern Ukrainian.The analysis of the illustrative presentation of novel “The City” by V. Pidmohylnyi, published in “Osnovy” in 2017, affords the ground for the suggestion that the work became a truly alternative in the sense of avant-garde design. The article emphasises the idea that “The City” (2017), which is being investigated by us, is especially distinguished among other reprints of classical Ukrainian literature by the collision and dialogue of the verbal urban text of V. Pidmohylnyi (1927) with the avant-garde, postmodern, comic visual text of modern city by M. Pavliuk (2017). New meanings of the verbal text are born on the collision of two urban discourses. Thus, through the illustrative material, the modern city, described in the novel by V. Pidmohylnyi 90 years ago, becomes relevant and modern for the citizens of 2017. So, we are dealing with the postmodern illustrative design of the classical edition, which through the latest forms of visualization, creates new visions and contexts.The offered study states that “Osnovy” is not only a publishing house, creating a quality publishing product concerning the latest news, but also uses modern marketing strategies to implement its products.

scholarly journals Brazilian Transcreation and World Literature

2016 ◽  
Vol 1 (3) ◽  
pp. 316-341
Author(s):  
Isabel Gómez
Keyword(s):  
Latin American ◽  
Critical Edition ◽  
World Literature ◽  
Publishing House ◽  
Cultural Hybridity ◽  
The Novel ◽  
Spanish Translation ◽  
Avant Garde ◽  
National Allegory ◽  
Culture Of Origin

How does one translate an avant-garde classic? How might a translation mediate between experimentalism and canonicity as a work travels away from its culture of origin? This article studies Héctor Olea’s Spanish translation of Mário de Andrade’s Macunaíma (1928) as one response to these questions from a Latin American translation zone. First translated for the Barcelona publishing house Seix Barral (1977), his work soon traveled back across the Atlantic to be re-edited into a critical edition for Biblioteca Ayacucho (1979). This article examines letters from the publisher’s archive to demonstrate that debates over the novel as avant-garde art, literary ethnography, or Brazilian national allegory influenced their views on translation. By including two incompatible translation approaches—transcreation and thick translation—the volume reveals an unresolved paradoxical treatment of cultural hybridity at the heart of the text.

Impacts of Seaplanes and Seaports on the Perception and Conception of the Modern City

2014 ◽  
Vol 40 (6) ◽  
pp. 1028-1053 ◽  
Author(s):  
M. Haluk Zelef
Keyword(s):  
Built Environment ◽  
Urban History ◽  
Vantage Point ◽  
Urban Structure ◽  
The Novel ◽  
Modern City ◽  
Transportation Technologies ◽  
The City ◽  
International Events

This article focuses on the waterscape of Istanbul, uncovering an episode in the city’s urban history based on this main geographic characteristic. It studies the novel civil seaplane transportation technologies of the 1920s and 1930s, analyzing their actual and possible impacts on the city. These planes provided not only a rapid link between the city and Europe but also a new vantage point for the perception of its natural and built environment. The aircraft were also planned to play innovative roles in the conception of the urban structure of a modern city as well as in the envisioned international events.

INTERMEDIAL COORDINATES OF ARTISTIC MODELING OF TRAUMATIC PAST IN M. BUBAK’S NOVEL “ALDER BLOOD”

2018 ◽  
pp. 46-51
Author(s):  
Svitlana Pidoprygora
Keyword(s):  
Fine Arts ◽  
Digital Art ◽  
Visual Images ◽  
The Novel ◽  
Visual Poetry ◽  
Avant Garde ◽  
Black And White ◽  
Political Critique ◽  
Cultural Codes ◽  
New Meanings

The article examines the intermedial coordinates of the artistic modeling of traumatic past in the novel “Alder Blood” by the famous artist M. Babak. Theoretical and methodological basis of the research is the work on the theory of intermediality (A. A. Hansen-Leo, V. Wolf, J. Muller, I. Raievskyi, S. Matsenko, V. Prosalova, I. Ilchuk). Since we are talking about the semantic and communicative potential of visual images in the structure of the work, we take into account the works of semiotics, whose representatives (R. Bart, W. Eco, C. Pearce) began to decipher, interpret cultural codes of visual images. In the artistic world of the novel “Alder blood” the codes of literature and fine arts, digital art interact. Neo-Expressionism, Trans-Avant-garde author’s techniques reveals excessive emotionality, metaphorical, fragmentary, “curly” verbal text. The visual plan of the novel, apart from the verbal “picture”, the font expressiveness of the text, the presence of fragments that associated with methods of creation of visual poetry, is characterized by the insertion into the artistic structure of the work of photo collages, graphic sketches. In the novel photography not only represents the past. Black and white rural photography, scanned, processed with the help of a technical photo editor, transformed into a collage element, complemented with new meanings, turned into a work of digital art, means of comprehension and socio-political critique of important social and aesthetic issues. The novel “Alder blood” with its genre and stylistic peculiarities is closer to the art-book, that combining in one work verbal and visual art. Modeling traumatic past in intermedial coordinates (media combination), the author makes an act not personal, but also national auto-therapy.

Virus as Metaphor

October ◽  
2020 ◽  
Vol 172 ◽  
pp. 159-162
Author(s):  
David Joselit
Keyword(s):  
Pop Art ◽  
The Novel ◽  
History And Criticism ◽  
Health Crisis ◽  
Avant Garde ◽  
Viral Spread ◽  
New Meanings ◽  
The Moment ◽  
The One ◽  
Novel Coronavirus

Establishing a connection between the novel coronavirus pandemic and the viral spread of misinformation emanating from the Trump administration, this essay suggests that we are now experiencing a general condition of the de-authorization of information—what Trump calls “fake news—in which the legitimacy of every form of knowledge is rendered questionable. The health crisis, Joselit argues, is equally a crisis of the authorization of information gone viral. This situation heightens a contradiction within the history and criticism of modern and contemporary art, which, on the one hand, has typically valued avant-garde practices for their capacity to challenge authority, and on the other hand, has taken postmodern calls to de-authorize canons to heart. The essay concludes with a call for critics and art historians to risk authorizing new historical narratives, just as artists, since at least the moment of Pop art, have appropriated viral images in order to furnish them with new authors—to author-ize new meanings.

scholarly journals Mister Workman — former newsboy, mister Workman — millionaire

2021 ◽  
Vol 19 (1) ◽  
pp. 183-202
Author(s):  
Marina Shukina ◽  
Keyword(s):  
Publishing House ◽  
Russian Language ◽  
Original Text ◽  
The Novel ◽  
Avant Garde

This article discusses the little-known text of M. A. Gershenzon, Soviet children’s writer, translator and editor. In 1927 he translated and revised the novel by German writer H. Dominik “John Workman. From newsboy to millionaire” (1909–1925). The article examines the reasons why it was expected, considering all Gershenzon’s works, that the novel will appeal to him. The author of the article analyzes the goals and results of Gershenzon’s strategy as the translator: in this case it consisted more than in careful editing and serious alteration of the plot of the book written by an ideologically distant author. The analysis involves eleven issues of Pioneer magazine (1927), where the translated novel “John Workman” had been published and also accompanied by an avant-garde photographic design by the artist G. Berendhof. The work of M. A. Gershenzon is compared both with the original text by H. Dominik and with the translation by Y. Iwask (“John Workman”, 1933, published by Estonian Russian-language publishing house “Argonauts”).

scholarly journals Censorship in Franco´s Spain about the novel of Mario Vargas Llosa "The City and the Dogs"

enadakultura ◽  
2021 ◽  
Author(s):  
Nino Jokhadze
Keyword(s):  
Soviet Union ◽  
Publishing House ◽  
Nobel Laureate ◽  
Mario Vargas Llosa ◽  
Negotiation Process ◽  
The Novel ◽  
The Soviet Union ◽  
The 1960S ◽  
First Editions ◽  
The City

"The City and the Dogs" is the first novel by the famous Peruvian writer, Nobel Laureate Mario Vargas Llosa, which was published in the author's youth. In 1963, at the time of the novel's publication, the author was 27 years old. It is known that Mario Vargas Llosa had to overcome many difficulties on the way to publishing the work. After reading the manuscript of the novel, the Catalan editor and founder of the publisher ¨Seix Barral¨, Carlos Barral aimed to publish the work by his publishing house. Barral has been in lengthy negotiations with Spanish censorship. In these negotiations were also involved general director of information agency, Robles Piquer, representative of cenorship and from the side of author, a friend of Robles Piquer, a professor at the University of Barcelona, ​​Jose Maria Valverde, which was the jury member of ¨Biblioteca Breve¨ award. He wrote the preface for the first editions of the novel. Mario Vargas Llosa's sympathies for the Communist Party and the Cuban Revolution in the 1950s and 1960s are well known. The novel clearly shows the author's leftist positions, his criticism and cynical attitude towards the Peruvian military system and education system. To express the prejudices, racial and class inequalities, corruption and injustice in a society living under a dictatorial regime, the author does not shy away from using the vulgar language of adults and describing sexual scenes, that allow the reader to perceive and imagine the novel realistically.It was the novel's anti-militaristic tone, rude language, and sexual episodes that presented a kind of "embarrassment" to Franco´s censorship, which was much more lighted in the 1960s than in previous years. The novel did not satisfy censorship criterias, cause it included, offensive themes of religion (the episode of the priest), sexuality-related topics, inappropriate and provocative language, and thoughts against the regime (criticism of the military system) which was unacceptable to Spanish censors.As a result of negotiations conducted by Carlos Barral, censorship allowed the author to publish his first novel, in Franco´s Spain, led by the rightists. In this article, we will discuss the negotiation process for publishing a novel. Despite the novel's anti-militaristic attitude, under the Spanish censorship it was published whith a minimal changes, unlike from the Soviet Union, where, as Vargas Llosa noted, the novel was "amputated." In the article we will discuss also why Spanish censorship allowed the publication of a novel and with minor modifications that was considered as an allegory of anti-Francoism.

Göçmen edebiyatında din ve kimlik yansımaları -Fakir Baykurt’un Yarım Ekmek Romanında Din ve Gelenek-

2015 ◽  
Vol 2 (1) ◽  
pp. 117-145
Author(s):  
İsmail Güllü
Keyword(s):  
The Political ◽  
The Novel ◽  
Cultural Shock ◽  
Turkish Literature ◽  
Socialist Realist ◽  
Long Time ◽  
Societal Structure ◽  
Immigrant Religion ◽  
Turks In Germany ◽  
The City

Yarım aşırı aşan bir geçmişe sahip Almanya’ya göç olgusu beraberinde önemli bir edebi birikimi (Migrantenliteratur) de getirmiştir. Farklı adlandırmalar ile anılan bu edebi birikim, kendi içinde de farklı renkleri de barındıran bir özelliğe sahiptir. Edebi yazını besleyen en önemli kaynaklardan biri toplumdur. Yazarın içinde yaşadığı toplumsal yapı ve problemler üstü kapalı veya açık bir şekilde onun yazılarına yansımaktadır. Bu bağlamda araştırma, 50’li yaşlarında Almanya’ya giden ve ömrünün sonuna kadar orada yaşayan, birçok edebi ve düşünsel çalışması ile Türk edebiyatında önemli bir isim olan Fakir Baykurt’un “Koca Ren” ve Yüksek Fırınlar” adlı romanları ile birlikte Duisburg Üçlemesi’nin son kitabı olan “Yarım Ekmek” romanında ele aldığı konu ve roman kahramanları üzerinden din ve gelenek olgusu sosyolojik bir yaklaşımla ele alınmaktadır. Toplumcu-gerçekçi çizgide yer alan yazarın, uzun yıllar yaşadığı Türkiye’deki siyasi ve ideolojik geçmişi bu romanda kullandığı dil ve kurguladığı kahramanlarda kendini göstermektedir. Romanda Almanya’nın Duisburg şehrinde yaşayan Türklerin yeni kültürel ortamda yaşadıkları çatışma, kültürel şok, arada kalmışlık, iki kültürlülük temaları ön plandadır. Yazar romanda sadece Almanya’daki Türkleri ele almamakta, aynı zamanda Türkiye ile hatta başka ülkeler ile de ilişkilendirmeler yaparak bireysel ve toplumsal konuları ele almaktadır. Araştırmada, romanda yer alan dini ve geleneksel unsurlar sosyolojik olarak analiz edilmiştir. Genel anlamda bir göç romanı olma özelliği yanında Yarım Ekmek romanında dini, siyasi ve ideolojik birçok yorum ve tartışma söz konusudur. Romandaki bu veriler, inanç, ritüel, siyaset ve toplumsal boyutlarda kategorize edilerek ele alınmıştır.  ENGLISH ABSTRACTReligion and identity reflections in literature of immigrant: Religion and Tradition in Fakir Baykurt’s novel Yarım EkmekThe immigration fact which has nearly half century in Germany have brought a significant literal accumulation (Migrantenliteratur) in its wake. This literal accumulation, which is named as several denominations, has a feature including different colours in itself. One of the most important source snourishing literature is society. Societal structure and problems that the writer lives inside, directly or indirectly reflect on his/her compositions. In this context, the matter of religion and tradition by way of the issue and fictious characters in the novel of Fakir Baykurt who went to Germany in her 50’s and lived in there till his death and who is a considerable name in Turkish literature with his several literal and intellectual workings; “Yarım Ekmek” which is the third novel of Duisburg Trilogy with “Koca Ren” and “Yüksek Fırınlar” are discussed sociologically in the study. The political and ideological past of the socialist realist lined writer in Turkey where he spent his life for a long time, manifest itself on the speech and fictious characters of novel. In the novel, themes of new Turks’ conflict, cultural shock, being in the middle, bi culturalism in their new cultural nature in Duisburg which is the city they live in. The writer not only deals with Turks in Germany but also personal and social subjects via comparing them to Turkey and even other countries. In the study, religious and traditional elements analyzed sociologically. Besides the speciality of being a migration novel in general, there are a lot of religious, political and ideological interpretations and discussions in the novel. These datum in the novel are examinated in the context of belief, ritual, politics and social categorisation. 

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

SPACES AND “NOT-SPACES” IN THE ZHADAN’S PROSE

2019 ◽  
Author(s):  
Halyna Vypasniak
Keyword(s):  
The Novel ◽  
Main Attention ◽  
Petrol Station ◽  
Past Time ◽  
Native Group ◽  
The City

The paper analyses the symbolic features of spaces of Serhiy Zhadan’s prose. The main attention is paid to the novel “Voroshylovhrad” and the name of the city that doesn’t exist on the geographic maps anymore. Most spaces, such as a petrol station or abandoned airfield, could be defined as non-places (the term of M. Auge). For M. Auge it’s a type of space that shows the hybridity of our life. It’s basically the transit places. That is why there are no emotions connected with those non-places: no special stories, no narrative, that could create the place itself. The analysed novel by Serhiy Zhadan assures that even those places that weren’t noticed by most people and were treated by them as non-places, were really precious for others because of their personal memories and their past time, spent there. The paper also analyses the special features of the novel according M. Auge’s term the “anthropologic place”. It’s a place that represents an identity of native group that used to live there and shows the power of a connection between the place and its inhabitants. It’s also a place, where they can feel themselves and make their own rules. Those things make places like the petrol station, worth to be defended from intrusions.

L’absence chez Michel Butor. L’Emploi du temps et Degrés

2012 ◽  
pp. 66-80
Author(s):  
Michał Mrozowicki
Keyword(s):  
Human Memory ◽  
Point Of View ◽  
Narrative Discourse ◽  
The Novel ◽  
Michel Butor ◽  
Starting Point ◽  
One Year ◽  
The Moment ◽  
Narrative Mode ◽  
The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

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