scholarly journals „Między nieobecnością a utratą”. Trauma blokady Leningradu i jej echa na materiale utworów Natalii Krandijewskiej-Tołstoj oraz Tatiany i Natalii Tołstoj

2017 ◽  
Vol 6 ◽  
pp. 257-268
Author(s):  
Beata Pawletko
Keyword(s):  
Traumatic Events ◽  
Russian Literature ◽  
Third Generation ◽  
Literary Works ◽  
The Past ◽  
Settling Up

“Between absence and loss”. Trauma of siege of Leningrad and its echoes literary works by Natalia Krandiyevska-Tolstaya, Tatyana and Natalia TolstayaThere is no denying that the contemporarily revealed truth about the siege of Leningrad is fitted in, citing Dominick LaCapra findings, two coupled terms, i.e. absence and loss. The tension between them concerns not only the witnesses, but also the next generations, which try to recover the memory on behalf of their loved ones. The category of postmemory created by Marianne Hirsch will be employed as a base to the specificity of the reception and presentation of “inherited ex­perience” of the siege by the representatives of third generation. Literary works by Tatyana Tolstaya and her sister Natalia will be analyzed, where, as it turns out, the echoes of the siege sound not accidentally; the background is created by the oeuvre and attitude of their grandmother, Natalia Krandiyevska-Tol­staya. What does this remarkable literary cross-generational relation bring? Is it only an expression of memory, or maybe it is an attempt to confront traumatic events of the past? One thing goes without saying: the presence of the siege in the works of postmemory is a proof of inexhaustibleness, but mostly of not dealing with, not settling up this experience not only in the life of particular families but, most of all, within Russian literature.„Между отсутвием и утратой”. Травма блокады Ленинграда и ее эхо на материале произведений Натальи Крандиевской-Толстой, а также Татьяны и Натальи ТолстыхВ современные исследования блокады Ленинграда вписываются, ссылаясь на труды Доминика ЛаКапра, два параллельных понятия, т.е. отсутствие и утрата. Особенным напряжениям между ними подвергаются не только свидетели, но и следующие поколения пытающихся восстанавливать память о блокаде от имени своих родных. Кроме того, очередной исходной точкой по отношению к специфике приема и представления „перенятого опыта” блокады представителями третьего поколения послужит категория постпамяти Марианны Хирш. Предметом анализа будут произведения Татьяны Толстой и ее сестры Натальи, в которых эхо блокады, как известно, появляется неслучайно, поскольку фон образует творчество и жизненный путь их бабушки, Натальи Крандиевской-Толстой. Что несет с собой этот необыкновенный, литературный, межпоколенческий диалог? Является ли он лишь выражением памяти, или, может быть, это скорее всего попытка конфронтации с травматическим прошлым? Одно не подлежит сомнению присутствие блокадной темы в мемориальных произведениях это свидетельство ее неисчерпаемости, но прежде всего сигнал, что травматический опыт еще недостаточно проработан не только в случае конкретных семей, но и в области современной русской литературы.

Behind the stage of a literary text. ‘Custom is despot among men’

2020 ◽  
pp. 63-83
Author(s):  
E. N. Tsimbaeva
Keyword(s):  
World War I ◽  
Everyday Life ◽  
Literary Text ◽  
Skeletal System ◽  
World War ◽  
Internal Organs ◽  
Literary Works ◽  
The Past ◽  
Fiction Writers

The article analyzes physical and physiological problems caused by fashionable clothing in the mid-18th to early 20th cc. that shaped people’s appearances and lifestyles in the past. Affecting the skeletal system and the functioning of internal organs and brain in particular and causing various illnesses, these problems went largely unrecognized by contemporaries, including writers, but would inevitably surface in literary works as part and parcel of everyday life. Without understanding their role, one may struggle to comprehend not only plot twists and characters’ motivations but also the mentality of the bygone era as portrayed in fiction. Chronologically, the research covers the period from the mid-18th c. to World War I. The author only focuses on so-called respectable society (a very tentative term that covers members of the aristocracy and other classes with comparable lifestyles), since it was this group which drew the most attention from fiction writers of the period. The scholar chose to concentrate on the kind of daily realia of ‘noble society’ that permeate works by Russian, English, French and, to some extent, German authors, considered most prominent in Europe at the time.

scholarly journals Babi Yar and the Nazi Genocide of Roma: Memory Narratives and Memory Practices in Ukraine

2021 ◽  
pp. 1-21
Author(s):  
Andrej Kotljarchuk
Keyword(s):  
Comprehensive Analysis ◽  
Clear Picture ◽  
Third Generation ◽  
History And Memory ◽  
The Past ◽  
Contemporary Situation ◽  
Memory Practices

Abstract Thousands of Roma were killed in Ukraine by the Nazis and auxiliary police on the spot. There are more than 50,000 Roma in today’s Ukraine, represented by second and third generation decendants of the genocide survivors. The discussion on Roma identity cannot be isolated from the memory of the genocide, which makes the struggle over the past a reflexive landmark that mobilizes the Roma movement. About twenty Roma genocide memorials have been erected in Ukraine during last decade, and in 2016 the national memorial of the Roma genocide was opened in Babi Yar. However, scholars do not have a clear picture of memory narratives and memory practices of the Roma genocide in Ukraine. A comprehensive analysis of the contemporary situation is not possible without an examination of the history and memory of the Roma genocide before 1991.

HATIMU AISYAH KARYA ZURINAH HASSAN MENERUSI PERSPEKTIF ELAINE SHOWALTER MODEL BAHASA

2020 ◽  
Vol 8 (2) ◽  
pp. 54-62
Author(s):  
NUR ZALIKHA MAT RADZI ◽  
NASIRIN ABDILLAH ◽  
DAENG HALIZA DAENG JAMAL
Keyword(s):  
Language Model ◽  
Southeast Asian ◽  
Language Models ◽  
Symbolic Language ◽  
Female Characters ◽  
Literary Works ◽  
The Past ◽  
Historical Practices

Hatimu Aisyah karya Sasterawan Negara ke-13 iaitu - Zurinah Hassan, yang juga penerima Anugerah Hadiah Penulis Asia Tenggara (SEA Write Award) pada tahun 2004. Rentetan kejayaan beliau, telah menjadi tumpuan para pengkaji untuk meneliti aspek mengenai pengarangan wanita. Hatimu Aisyah merupakan novel pertama dihasilkan oleh Zurinah Hassan yang menekankan mengenai amalan adat resam zaman terdahulu sehingga ditelan arus pemodenan zaman. Novel Hatimu Aisyah mengetengahkan gambaran wanita yang mengutamakan adat dalam konteks perjalanan hidup bermasyarakat. Kajian terhadap karya Zurinah Hassan ini, bersandarkan kepada Model Bahasa Gagasan Elaine Showalter dari perspektif ginokritik untuk melihat watak-watak wanita. Antara Perbincangan dalam kajian ini adalah berfokuskan kepada simbolik bahasa dan bahasa sebagai ekspresi kesedaran wanita. Hasil dapatan keseluruhan kajian menunjukkan bahawa Zurinah Hassan menggunakan bahasa yang bersesuaian dengan gagasan bahasa daripada Elaine Showalter tetapi agak kurang menyerlah. Hal ini disebabkan keterbatasan penggunaan bahasa selaras dengan sosiobudaya masyarakat Melayu. Penemuan kajian ini dalam model bahasa wanita dapat dilihat menerusi simbolik bahasa dan bahasa sebagai ekspresi kesedaran wanita. Hasil manfaat dan kepentingan diperolehi masa hadapan dapat dilihat bahawa golongan wanita menzahirkan protes dan kritikan menerusi corak penulisan karya mereka meskipun masih dalam keadaan terkawal.   Hatimu Aisyah the 13th National literary works, namely-Zurinah Hassan, who is also the recipient of the Southeast Asian Writer award (SEA Write Award) in 2004. His success string has been the focus of researchers to examine the aspects of women's writings. Hatimu Aisyah is the first novel to be produced by Zurinah Hassan that emphasizes on the historical practices of the past, having swallowed the current modernization of the day. The Hatimu Aisyah Novel highlights the portrayal of women who are customcentric in the context of the communities life. Studies on Zurinah Hassan's work are based on the language Model of Elaine Showalter from the perspective of Ginokritik to see the female characters. Among the discussions in this study are focused on symbolic language and language as a expression of women's awareness. The overall findings of the study showed that Zurinah Hassan used a language that fits the language idea of Elaine Showalter but was somewhat less striking. This is due to the limitations of usage in line with the Malay social. The findings of this study in female language models can be seen through the symbolic language and language in the expression of women's awareness. The results of the benefits and interests gained future can be seen that women are in their protest and criticism through their work writing patterns despite being controlled.

scholarly journals Rewriting the Past: Gerard Mannix Flynn’s Nothing to Say and James X

2016 ◽  
Vol 1 (1) ◽  
pp. 107-121
Author(s):  
Victoria Connor
Keyword(s):  
Traumatic Events ◽  
The Novel ◽  
The Past ◽  
Trauma Survivor ◽  
Trauma Fiction

If, as Anne Whitehead suggests, the term ‘trauma fiction’ represents a paradox, that violence resists containment through language, then writers who engage and attempt to represent traumatic events in their work can never fully render the horror of trauma through their writing. Yet artists such as Gerard Mannix Flynn, a survivor of trauma himself, still attempt to translate the experience of trauma into language. In the novel Nothing to Say and the play James X, Flynn explores the ways in which trauma is both experienced and recalled and the cathartic effects that ‘containing’ trauma through language can have. The impetus to write, to express the trauma one has suffered through language, offers the victim agency over his or her own narrative. The agency that the trauma survivor gains is not literal; rather, they have finally gained control over what Cathy Caruth identifies as the ‘haunting power’ of repressed trauma, and in doing so are able to take the first steps towards recovery. In both works, Flynn attempts to traverse the paradox that Whitehead presents: he attempts to represent that which is deemed unrepresentable, and put the violence inflicted upon the protagonists into words.

scholarly journals REPRESENTASI KUASA RAMALAN: PANGERAN DIPENOGORO DAN AKHIR TATANAN LAMA DI JAWA 1785-1855 KARYA PETER CAREY DALAM AKU DIPENOGORO! OLEH LANDUNG SIMATUPANG

IdeBahasa ◽  
2021 ◽  
Vol 3 (1) ◽  
pp. 1-10
Author(s):  
Septiani Nur Alifah
Keyword(s):  
Performing Arts ◽  
Literary Work ◽  
Literary Works ◽  
Peter Carey ◽  
Dramatic Effect ◽  
The Past ◽  
Similarities And Differences ◽  
Descriptive Qualitative

Literary works are never separated from previous works or other texts. “Aku Dipenogoro!” is a literary work in the form of a drama script written by Landung Simatupang which was inspired by the power of divination by Peter Carey. The process of forming a literary work based on the acceptance of the past works can be said to be a reception. Therefore, this study used a reception approach to see how far the acceptance of previous works in Aku Dipenogoro!. The method used in this study is descriptive qualitative. In this case, the researcher compares the texts by looking at the similarities and differences. Furthermore, the findings are described. Based on the results of the analysis conducted by Aku Dipenogoro! as a literary work made several changes from the previous work (Peter Carey's Power of Prediction). These changes are used to give a dramatic effect in the work. Improvisation is used to get certain effects and aesthetics in a work. As a drama script Aku Dipenogoro! refers to dramatic effects in the performing arts (theater).

“Viejas pisadas”: Activating Postvernacular Ladino in the Works of Myriam Moscona

2022 ◽  
Vol 1 (1) ◽  
pp. 7-20
Author(s):  
Katharine G. Trostel
Keyword(s):  
Native Speaker ◽  
Creative Work ◽  
Literary Works ◽  
Liminal Spaces ◽  
Spanish Speaking ◽  
The Past ◽  
Creative Play ◽  
Hybrid Language ◽  
And Function

Abstract In both her hybrid-language novel Tela de Sevoya (2012) and in her Ladino poetry collec­tion Ansina (2015), Mexican author Myriam Moscona (1955) embraces Ladino as a post­vernacular language without any illusions of recuperating it for daily speech. Although her grandparents spoke Ladino, she herself is not a native speaker. While she recognizes that Ladino is a dying tongue, Moscona makes explicit the power of literary works to infiltrate and function within the liminal spaces that exist between languages, identities, or layers of history. Moscona’s dynamic and future-oriented creative work-composed in a language whose vernacularity exists only in the past-utilizes the tool of postvernacularity and en­ters into the discourse of feminist mobilization. Her works show how the active use of postvernacularity can open opportunities for her Spanish-speaking audiences to collective­ly engage in Ladino’s afterlife through acts of creative play.

Poetosphere and mythopoetics of the estate in A.A. Blok’s dramatic poem “Song of Fate”

2020 ◽  
pp. 186-205
Author(s):  
Ekaterina V. Kuznetsova ◽  
Keyword(s):  
Russian Literature ◽  
Open Spaces ◽  
White House ◽  
Modern City ◽  
The Past ◽  
The World ◽  
The Creation ◽  
Xix Century ◽  
The Hill ◽  
As If

As it noted by the researchers, the “Song of fate” accumulates painful thoughts of A.A. Blok about the fate of Russia and about his personal fate associat ed with the past, present and future of the Motherland. In addition to the ideological problems raised in it, the poem is interesting in an attempt to escape from the specifics of historical and national-cultural realities through their symbolization, combining the plans of life and being. The white house with a garden on the hill, in which the action of the play begins and the return to which is implied at the end, incorporates the most important features of Russia as a cultural, natural and spiritual space. The world of the estate is opposed by the space of the modern city and the big world of Russian open spaces. However, the estate for Blok is Russia the same. Therefore, Elena, the keeper of the estate, and Faina, the personalization of the world element, are two parts of one whole, as if the projection of an ideal Russia. The plot of the “Song of fate”, accord ing to D.M. Magomedova, I.S. Prikhodko, etc., is an artistic realization of the Gnostic myth of the captive Sophia, the Soul of the world. The imposition of the Gnostic myth in the “Song of fate” on the entire existing in Russian literature of the XIX century poetosphere of the estate leads to the creation of the author’s myth about Russia, the transformation of poetosphere in the mythopoetics.

Univocality within Multivocality

2010 ◽  
Vol 2 (2) ◽  
pp. 46-62 ◽  
Author(s):  
Elie Podeh
Keyword(s):  
Jewish History ◽  
Linear Process ◽  
History Textbooks ◽  
The Other ◽  
Fourth Generation ◽  
Third Generation ◽  
Gradual Improvement ◽  
The Third ◽  
The Past ◽  
The Way

Previous research on the way in which the Arab-Israeli conflict and the image of the Arab have been presented in Jewish history and civics textbooks established that there have been three phases, each typified by its own distinctive textbooks. The shift from the first to the third generation of textbooks saw a gradual improvement in the way the Other has been described, with the elimination of many biases, distortions and omissions. This article explores whether new history textbooks, published from 2000 to 2010, have entrenched or reversed this trend. With the escalation of the Israeli-Palestinian conflict since the early 2000s, one might have expected that the past linear process of improvement would be reversed. However, textbooks written over the last decade do not substantially differ from those written in the 1990s, during the heyday of the peace process. The overall picture is, therefore, that the current textbooks do not constitute a fourth generation.

Proposed Improvements of the ASME B&PV Code and Future Directions of CIWG

2013 ◽  
Author(s):  
Jinquan Yan ◽  
Yinbiao He ◽  
Gang Li ◽  
Hao Yu
Keyword(s):  
Nuclear Power ◽  
Power Plants ◽  
Third Generation ◽  
Future Directions ◽  
The Past ◽  
Development Direction ◽  
Asme Code ◽  
Set Up ◽  
Near Future ◽  
First Time

The ASME B&PV Code, Section III, is being used as the design acceptance criteria in the construction of China’s third generation AP1000 nuclear power plants. This is the first time that the ASME Code was fully accepted in Chinese nuclear power industry. In the past 6 years, a few improvements of the Code were found to be necessary to satisfy the various requirements originated from these new power plant (NPP) constructions. These improvements are originated from a) the stress-strain curves needed in elastic-plastic analysis, b) the environmental fatigue issue, c) the perplexity generated from the examination requirements after hydrostatic test and d) the safe end welding problems. In this paper, the necessities of these proposed improvements on the ASME B&PV code are further explained and discussed case by case. Hopefully, through these efforts, the near future development direction and assignment of the ASME B&PV-III China International Working Group can be set up.

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