scholarly journals José Zorrilla y los mitos fundacionales del romanticismo hispánico: sentido y estructura de la azucena silvestre: leyenda religiosa del siglo IX (1845)=José Zorrilla and the foundational myths of the Spanish Romanticism: sense and structure of la azucena silvestre: leyenda religiosa del siglo IX (1845)

2019 ◽  
pp. 23
Author(s):  
Claudia Lora Márquez
Keyword(s):  
Nineteenth Century ◽  
Narrative Style ◽  
Jose Zorrilla

<p align="left"><strong>Resumen</strong></p><p>José Zorrilla publica en 1845 <em>La azucena silvestre: leyenda religiosa del siglo IX. </em>Utilizando la leyenda como cauce narrativo, el poeta vallisoletano actualiza el mito fundacional del monasterio catalán de Montserrat acomodándolo a los principios ideológicos del pensamiento reaccionario español decimonónico: tradición, nación y religión.</p><p align="left"><strong> </strong><strong>Abstract</strong></p><p>José Zorrilla publishes in 1845 <em>La azucena silvestre: leyenda religiosa del siglo IX. </em>Using the legend as narrative style, the poet from Valladolid brings up to date the foundational myth of the Catalonian monastery of Montserrat streghtening the most important ideological principles of nineteenth-century Spain’s reactionary ideology: tradition, nation and religion.  </p>

Re-reading Armenian Modernity in Madt‘ēos Mamurian’s English Letters

2020 ◽  
Vol 27 (1) ◽  
pp. 99-116
Author(s):  
Maral Aktokmakyan
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
National Consciousness ◽  
Narrative Style ◽  
Political Subject ◽  
The Uncanny ◽  
Late Nineteenth

Abstract This article moves to examine Madt‘ēos Mamurian’s English Letters or the Destiny of an Armenian alongside issues of national consciousness and the modern political subject. Focusing on the narrative style and structure that allowed the author to problematize and cultivate the idea of reawakening the Armenian nation and individual as a political animal, the article claims to bring in the notion of the strange, stranger and the uncanny, as the operating tools in Mamurian’s engagement with the modern in a late nineteenth century Ottoman-Armenian context.

scholarly journals ’n Interpretasie van Karel Schoeman se roman, ’n Ander land binne die raamwerk van die laat negentiendeeeuse estetisistiese en dekadente literêre tradisie

Literator ◽  
1993 ◽  
Vol 14 (1) ◽  
pp. 1-12
Author(s):  
M. Grobbelaar ◽  
H. Roos
Keyword(s):  
Nineteenth Century ◽  
Literary Tradition ◽  
Late Nineteenth Century ◽  
Main Character ◽  
Narrative Style ◽  
Strong Resemblance ◽  
Late Nineteenth ◽  
Western European ◽  
French Words ◽  
Intense Heat

The first motivation for reading Karel Schoeman’s novel ’n Ander land within the framework of late nineteenth century Western European decadcnt literature is the strong resemblance between Schoeman's character Versluis and Des Esseintes, main character of the so-called Bible of Decadence, namely Joris- Karl Huysmans’ A Rebours (1884). Schoeman’s cultivated narrative style, his use of archaic Dutch and French words and the fact that this novel h as 'no story’, confirm the affinity of ’n Ander land with the decadent literary tradition as established by Huysmans’ plotless novel. The ultimate vision communicated in ’n Ander land is that death, like the landscape of Africa, is infinitely empty. The journey of the dying Versluis to Bloemfontein with its emphasis on intense heat and desolation and its affinities with Dante's Divina Commedia can be seen as a symbolic descent into hell, with the suggestion that Versluis will never reach paradise.

scholarly journals On music and art in the journal Danica (1860-1872)

Muzikologija ◽  
2013 ◽  
pp. 57-76
Author(s):  
Natasa Marjanovic
Keyword(s):  
Nineteenth Century ◽  
Everyday Life ◽  
Narrative Style ◽  
Separate Section ◽  
Musical Practice ◽  
The Everyday

This paper deals with features and articles on music and art published in the journal Danica, in the period 1860-1872. Selected articles contain significant testimonies on the place of musical practice in the everyday life of Serbs and other Slavic people living in the Austro-Hungarian Empire in the nineteenth century. The feature articles abound with details on the artistic activities of respected individuals and singing societies, popular cultural-artistic events (besedas, balls, dances), new publications on music and other news. Several articles were dedicated to aesthetic and philosophical views on art. In a separate section of this paper, I analyze the narrative style of these articles.

Jules Vallès’s L’Insurgé and the Narrative of Popular Revolt

2020 ◽  
Vol 29 (2) ◽  
pp. 164-178
Author(s):  
Biliana Kassabova
Keyword(s):  
Nineteenth Century ◽  
Central Character ◽  
The Novel ◽  
Paris Commune ◽  
Narrative Style ◽  
New Politics ◽  
Jules Valles ◽  
Present Tense ◽  
Nineteenth Century Novels ◽  
Communal Politics

In this article, I look at Jules Vallès’s L’Insurgé to argue that its narrative style performs the politics of anonymity at the heart of the Paris Commune. To do this, I analyse three key elements of the novel – its autofictionality, its fragmentation and its ubiquitous present tense. By rejecting the exemplarity inherent in autobiography, this autofiction avant la lettre implies that the I of the narrator Jacques Vingtras, himself a stand-in for the author Jules Vallès, can be substituted with any other I. In the ‘révolution anonyme’ of 1871, there can be no leader; in its narrative, the central character is replaceable. The fragmentary writing further resists the unity of nineteenth-century novels to draw portraits of various actors of revolt; centralised revolution is abandoned in favour of communal politics. Finally, the narration in the present tense creates a sense of immediacy which rejects the glorification of the revolutionary past, and instead underscores the Paris Commune’s new politics in the making. The novel is thus enacting the ‘grande fédération des douleurs’ to which it is dedicated.

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