CONTRAST AS A FEATURE OF THE KARACHAY-BALKAR PROSE OF THE FIRST HALF OF THE XX CENTURY (ON THE EXAMPLE OF THE WORK OF S. KHOCHUEV)

2021 ◽  
Vol 79 (3) ◽  
pp. 146-150
Author(s):  
UZDENOVA FATIMA T. ◽  
◽  
TEPPEEVA HANNFA M. ◽  
Keyword(s):  
Clear Distinction ◽  
National Literature ◽  
Literary Texts ◽  
Initial Stage ◽  
The Aesthetic ◽  
Aesthetic Thinking

The article is devoted to one of the stable parameters of the aesthetic thinking of the Karachai-Balkarian people - the desire for absolute statues of what is described in literary texts. Using the example of S. Khochuev's creativity, the process of axiological identification of the heroes of Karachai-Balkarian prose at the initial stage of its development is considered and a conclusion is drawn about the extremely stable nature of the modal definitions of national writers. This situation is explained by the obvious continuity: the standards of epic positioning of heroes of solar and chthonic origin in folklore remained in demand at the initial stages of the development of national literature, which developed during this period due to the understanding of problems of a class-ideological nature and needed systems of clear distinction and identification of heroes.

Working-Class Writing and the Use Value of the Literary

PMLA ◽  
2012 ◽  
Vol 127 (4) ◽  
pp. 932-938 ◽  
Author(s):  
Sonali Perera
Keyword(s):  
Working Class ◽  
World Literature ◽  
Literary Texts ◽  
Second Phase ◽  
Use Value ◽  
Aesthetics And Politics ◽  
Republic Of Letters ◽  
Greenwich Meridian ◽  
Country Culture ◽  
The Aesthetic

Formal preoccupations, which is to say specifically literary concerns, appear in small literatures only in a second phase, when an initial stock of literary resources has been accumulated and the first international artists find themselves in a position to challenge the aesthetic assumptions associated with realism and to exploit the revolutionary advances achieved at the Greenwich meridian.—Pascale Casanova, The World Republic of Letters“In our country culture has become so complex, this complexity is reflected in our literature. It takes a certain level of education to understand our novelists. The ordinary man cannot understand them …” … And she reeled off a list of authors, smiling smugly. It never occurred to her that these authors had ceased to be of any value whatsoever to their society—or was it really true that an extreme height of culture and the incomprehensible went hand in hand?—Bessie Head, A Question of Power (first ellipsis in orig.)ON WHAT BASIS ARE SELECT TRADITIONS OF LITERARY INTERNATIONALISM RECOGNIZED AS WORLD LITERATURE AND OTHERS DEEMED MERELY historical, relics of nostalgic Marxism or of resolved debates on aesthetics and politics? According to recent influential formulations, world literature is writing that in original or translated form circulates outside the author's country of origin. But what of traditions of literary internationalism, like those of working-class writing, that reverse and displace practical, utilitarian propositions to ask, instead, in more abstract terms, what is the use value of the literary? Bessie Head's A Question of Power poses a challenge to practical definitions. What of literary texts that have global currency but aren't of “any value whatsoever to their society”?

scholarly journals Existential Sentences as a Characteristic Syntactic Feature of I. A. Bunin’s Poetic Texts

2020 ◽  
Vol 22 (4 (202)) ◽  
pp. 256-272
Author(s):  
Olga A. Selemeneva ◽  
Keyword(s):  
Literary Texts ◽  
Psychological States ◽  
Surrounding World ◽  
Traditional Structure ◽  
Lyrical Poetry ◽  
Poetic Text ◽  
Existential Sentences ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Main Components

In this article, existential sentences are examined as a syntactic dominant of I. A. Bunin’s lyrical poetry. The interest in the originality of the syntax of Nobel laureate’s literary texts is due to the lack of research on this issue, linguists’ focus on the aesthetic salience of the vocabulary, its expressive properties and combination potential, as well as stylistic figures and tropes. Meanwhile, it is the writer’s selection of specific syntactic structures for the implementation of the idea, the representation of key ideas and concepts that reflect his personality and the peculiarities of his perception of the surrounding world. The author refers to Bunin’s poems from 1886–1917 and 1918–1953 published in Bunin’s collected works in 9 volumes. In the writer’s poetic oeuvre, existential sentences are regularly used. Despite the traditional structure that underlies them and is represented by three meanings (‘the object of being’, ‘being’, and ‘area of being’), the richness of the lexical content of each of the main components stands out. As a result, existential sentences become a universal form used to represent completely different situations in the author’s individual worldview: the existence of natural objects in space, meteorological phenomena, events, time periods, artifacts, etc.; physical states of the surrounding world; psychological states of the subject. Acting as a semantic core of a poetic text, existential sentences do not have a fixed place in it, and are used as a lyrical beginning, an interposed element, or an ending in its structure. In each position, their use is conceptually significant. It is established that the peculiarity of existential sentences in Bunin’s lyrical poetry is their syntactic unconditionality (attachment to three registers of speech, i.e. reproductive, informative, and generative) and polyfunctionality (performing the pictorial, characterising and concluding, and generalising functions).

People’s Confessor of the Caves of Gethsemane Skete: The Image of St. Barnabas of Gethsemane in Prose by I. S. Shmelev

2020 ◽  
pp. 324-342
Author(s):  
Денис Владимирович Макаров
Keyword(s):  
Short Story ◽  
Personal Relationship ◽  
Cultural Tradition ◽  
Historical Method ◽  
The World ◽  
Monastic Life ◽  
State Of Mind ◽  
The Aesthetic ◽  
Aesthetic Thinking

Основная цель исследования - изучить образ преподобного Варнавы Гефсиманского в творчестве Ивана Сергеевича Шмелёва, а также показать значение в судьбе писателя личного общения со старцем Варнавой. В работе применяется сравнительно-исторический метод и метод филологического анализа. Для достижения указанной цели анализируется биография писателя, художественные произведения И.С. Шмелёва, в которых встречается образ преподобного Варнавы Гефсиманского, в частности романы «История любовная», «Лето Господне», «Пути Небесные», повесть «Богомолье», очерк «У старца Варнавы» и другие. Наиболее важные результаты исследования: И. С. Шмелёв создаёт образы праведников, опираясь на эстетическую традицию православия изображать святых и праведников в сиянии света. Немаловажным эстетическим приёмом является изображение человека глазами ребенка, стоящего на границе «ангельского» возраста, который, глядя на людей, воспринимает в силу своей духовной чистоты не столько их внешний облик, сколько состояние души: светлое или тёмное. При этом светоносность выстраивается в художественной системе И. С. Шмелёва в чёткую иерархию, которая основана на святоотеческой православной иерархии, выраженной словами преподобного Иоанна Лествичника: «Свет монахам - ангелы, а свет для всех мирских - монахи и монашеское житие», что наглядно показывает глубокую укорененность эстетического мышления писателя в православной культурной традиции. The main goal of the study is to evaluate the image of the Monk Barnabas of Gethsemane in the work of Ivan Sergeyevich Shmelev, as well as the significance of the writer’s personal relationship with elder Barnabas. The work uses the comparative historical method and the method of philological analysis. To achieve this goal, an analysis is made of the biography and works of I. S. Shmelyov, in which the image of the Monk Barnabas of Gethsemane is found, in particular, in the novels The Story of a Love, The Summer of the Lord, The Heavenly Ways, The Pilgrimage (Bogomoliye), the short story A Visit to Elder Barnabas, and others. The most important results of the study show that I. S. Shmelev creates images of the righteous, relying on the aesthetic tradition of Orthodoxy- he depicts saints and the righteous in a radiant and favourable light. An important aesthetic device is the image of a person through the eyes of a child, soon to cross the “angelic” age, who (due to his spiritual purity), looking at people, perceives not only their appearance, but their state of mind: light or dark. At the same time, luminosity is built in the artistic system of I. S. Shmelyov in a clear hierarchy, which is based on the patristic Orthodox hierarchy, expressed by the words of St. John Climacus: «Angel are an example for monks and monks and monastic life are a light to to all in the world», which clearly show the deep-rooted aesthetic thinking of the writer in the Orthodox cultural tradition.

Proletarian Modernism: Film, Literature, Theory

PMLA ◽  
2019 ◽  
Vol 134 (5) ◽  
pp. 1056-1075
Author(s):  
Benjamin Kohlmann
Keyword(s):  
Twentieth Century ◽  
Literary Texts ◽  
Aesthetic Theory ◽  
Alternative Route ◽  
Modernist Literature ◽  
Literary Works ◽  
Recent Scholarship ◽  
The Aesthetic ◽  
Literature Theory ◽  
Opening Up

This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent scholarship, proletarian modernists aimed to retool modernism, opening up new and global political futures for it rather than anticipating its end. The article concludes by showing that the cultural genealogy of proletarian modernism mapped out here doubles as a prehistory of contemporary aesthetic theory: it enables us to recognize the significant political and theoretical erasures that structure recent accounts of art's democratic potential.

Some Tamil folklore texts: Muttuppaṭṭaṉ Katai, Kāttavarāyaṉ Kataippaṭal, Paḻaiyaṉur Nīli

1989 ◽  
Vol 121 (2) ◽  
pp. 290-303
Author(s):  
Kamil V. Zvelebil
Keyword(s):  
Oral Traditions ◽  
National Literature ◽  
Literary Texts ◽  
Verbal Art ◽  
Continuous Stream

The following contribution is based on several assumptions: First, it is assumed that the oral traditions of verbal art, whether “fixed” in writing/print or not, belong legitimately to the bulk of a national literature; second, it is assumed that such oral traditions have been grossly neglected, misunderstood and/or misinterpreted; third, when speaking of a “tradition”, what I have in mind is not an authoritative dogmatism based on set doctrines, but a fountain-source from which stems a continuous stream of thought and culture, irrespective of whether it is orally transmitted, or fixed in literary texts.

‘No learned rhetorical flourishes!’ Anti-rhetorical narration and metaphorical agency in Raabe’sCeltic Bones

2013 ◽  
Vol 22 (3) ◽  
pp. 191-204 ◽  
Author(s):  
Helena Elshout
Keyword(s):  
Clear Distinction ◽  
Literary Texts ◽  
Conceptual Metaphors ◽  
The Real ◽  
Figures Of Speech ◽  
Cognitive Studies ◽  
Virtual Events ◽  
Narrative Function

As Monika Fludernik (2011) points out, creative metaphors receive less attention than conceptual metaphors in cognitive studies. The complex role of metaphor in literature and its narrative function needs to be further explored. Realistic novellas do not display a predilection towards elaborate creative metaphors. They contain other figures of speech and more conventional figurative forms such as symbols, allegories and similes – the latter to approximate an experience or perception. My hypothesis is, however, that in realistic texts metaphorical agency is often contained and instigated by virtual micronarratives (digression, memory, association, imagination and dream). How does metaphoricity relate to virtual parts of the storyworld? In order to investigate this question I use Wilhelm Raabe’s poetic realist novella Keltische Knochen ( Celtic Bones, published 1864) as a case study. Raabe’s travel account shows how virtual passages can receive and entail a metaphorical dimension. In Raabe’s novella the narrator witness claims that it does not manipulate reality by rhetorical tricks and metaphorical transformations, and therefore makes a clear distinction between the virtual and real parts of the storyworld. At the same time this distinction is undermined because the virtual events interfere with the real events and transform them into metaphorical sequences. The metaphorical sequences open up alternative segments of the storyworld that can be coined as paranarratives. The case study exposes the negotiability and the co-text dependence of literary metaphoricity and contributes to the exploration of the narrative potential of figurativeness in literary texts.

scholarly journals The Poetic of Colors in Qassim Haddad’s Texts (Oh Coal, My Master: Van Gogh’s Notes): شعريّة اللون في نص قاسم حدّاد (أيّها الفحم يا سيدي: دفاتر فنسنت فان غوخ)

2020 ◽  
Vol 4 (5) ◽  
Author(s):  
Amirah Ali Abdullah Al-Zahrani
Keyword(s):  
Analytical Approach ◽  
Literary Texts ◽  
Poetic Language ◽  
Critical Approach ◽  
Artistic Style ◽  
The Aesthetic ◽  
Figurative Expressions ◽  
Poetic Style

This study presents a critical approach to the poetic aspects of Qassim Haddad’s texts (Oh coal, my master) in his rewritings of Van Gogh's life. The importance of the study lies in the new experience of the text as Qassim has provided a distinguished artistic style where he presented the biography of the Dutch artist based on the heterobiography logic. He explored the artist’s paintings which reflected his attitudes towards life and art and invested in the content of his massages. The attractiveness of this topic is the reason for conducting the study as the poet Qassim Hadadd was able to explore deeply Van Gogh's ideas and consequently presented to us a biography of an exceedingly beautiful poetic style that presented his reading of the paintings and messages. Furthermore, texts are written in an elegant poetic language and are rich in color interpretations. The study adopts the Artistic Analytical approach that analyzed the figurative expressions of colors that have poetic connotations different from their denotative meanings which led to appreciate the aesthetic aspects of such literary texts.

scholarly journals AESTHETIC INSTRUMENTATION FOR FORMING IMAGINED COMMUNITIES: THE PHENOMENON OF THE NATIONAL ANTHEM

2021 ◽  
pp. 212-231
Author(s):  
O.Y. Khoroshylov
Keyword(s):  
Comparative Method ◽  
Social Engineering ◽  
Political Community ◽  
Literary Texts ◽  
The Political ◽  
National Anthem ◽  
Critical Content ◽  
Building Process ◽  
The Aesthetic ◽  
The Right

The article is devoted to the study of the experience of using aesthetic tools in the formation of national groups. The object of the research is the state anthems, as a concentrated manifestation of the self-interpretation of the political community. The methodology of this article is based on constructivism, which interprets nations as imaginary communities and focuses the attention of the researcher on the practice of using soft technologies of collective integration. It`s addressed to the problem of using literary texts in the processes of collective integration made it possible to include not only representatives of political, but also creative elites in the list of subjects of social engineering. It has been proved that the political significance of the national anthem is manifested through "texts` violence". It`s the ability of the ruling circles to transmit group values to the subordinate array, which is achieved due to the legislative consolidation of a generally binding status for a certain text and due to the aesthetic impact on the consciousness of members of the community. The research methodology is presented by the using the procedures of the comparative method. It was carried out in such clusters as: justification of the right to exist (source of legitimation), "We are the image" of the commonality, common heroes, imaginary geography. It was achieved the identification of statistical patterns and features of the studied text arrays with analytical procedures for critical content analysis of the national anthems of European states. The results of the study confirmed the effectiveness of the procedures and tools of social engineering as one of the scenarios for the creation of national collectives in the European cultural area, substantiated the expediency of using the approved methodology to identify the cultural means of the nation-building process within the borders of Europe, and revealed the prospects of its application in relation to countries of the non-European cultural area.

scholarly journals LA CONSTRUCTION INSTITUTIONNELLE DE LA LITTÉRATURE EN CLASSE DE FRANÇAIS : QUELQUES PROLÉGOMÈNES À UNE ANALYSE DIDACTIQUE DE L’OBJET

FRANCISOLA ◽  
2017 ◽  
Vol 2 (1) ◽  
pp. 79
Author(s):  
Anass EL GOUSAIRI
Keyword(s):  
Foreign Language ◽  
Training System ◽  
Literary Texts ◽  
Strategic Vision ◽  
School Programs ◽  
High School Programs ◽  
The Aesthetic ◽  
French Class ◽  
Institutional Construction ◽  
And Training

RÉSUMÉ. Suite à la Réforme générale du système d’éducation et de formation au Maroc, engagée depuis déjà deux décennies et relayée récemment par la Vision Stratégique 2015-2030, l’enseignement du français, en tant que « première langue étrangère » selon les discours officiels, a fait l’objet d’une reconfiguration didactique majeure, à savoir la réintroduction de la littérature dans les programmes du lycée dès l’an 2002, après une longue éclipse au profit des « Documents authentiques ». Or, malgré ce renouveau, la conception esthétisante et formelle de l’objet « littérature », qui a encore la vie dure en classe de français, ne permet pas de saisir le statut épistémologique et les enjeux réels de son usage didactique. Dans cet article, nous examinerons dans une démarche interprétative la littérature comme construit institutionnel par l’observation et l’analyse du texte officiel afférent à cette construction, et ce afin d’expliciter les effets et les dérives de la transposition didactique de l’objet en contexte scolaire. Mots-clés : didactique du français, interculturalité, langue-culture, littérature, texte officiel, transposition didactiqueABSTRACT. Further to the general Reform of Morocco’s education and training system, which has been engaged for already two decades and that was relayed recently by the Strategic Vision 2015-2030, teaching French, frequently referred to as the "first foreign language" according to official statements, has known an important didactic reconfiguration: literature was introduced in high school programs after being abandoned and replaced by “Authentic Documents” over the last few years. Nonetheless, the aesthetic and formal conception of literature doesn’t allow to understand the real stakes behind the use of literary texts in French class. In this article, we will examine particularly the institutional construction of literature by interpretating some data collected from the official text related to the teaching of/by literature. This study aims to explain the effects and the limits of the didactical transposition of literature as an object at school.  Keywords: didactics of French, interculturality, language-culture, literature, official text, didactical transposition

scholarly journals Creativity оf Advertising Aesthetics in Generating New Fiction Texts

2021 ◽  
pp. 182-196
Author(s):  
Alla Sazhyna
Keyword(s):  
Driving Force ◽  
Literary Texts ◽  
Original Text ◽  
Perfect Form ◽  
The Aesthetic ◽  
Communicative Space ◽  
Semantic Parameters

The article under studies deals with the creative possibilities of an advertising text within modern arts. It is generally recognized that the main purpose of advertising is to turn a recipient into a consumer. The advertisers achieve this goal through implementing the four consecutive stages of affecting the receptive consciousness: drawing attention, arousing interest, stimulating desire and encouraging action, which requires a perfect form of presentation. For successful achievement of the above results, the advertisers use rational, emotional, logical, psychological and aesthetic means of persuasion all together. Consequently, advertisement, as a peculiar synthetic type of “aestheticized pragmatics”, does not reject the aesthetic constituent. In the course of perceiving an advertising text, there might occur certain teleological deviations: when the aesthetic component of advertising comes out in the receptive consciousness in the first place, the advertising text can acquire new semantic parameters and be transformed into a qualitatively different text. In this way, most advertising slogans are usually considered. Being separated from the original text, they turn into independent messages (such as proverbs, sayings, phraseologisms) and enter the flow of the contemporary communicative space of speech. Other phenomena, generated by the aesthetics of an advertising text, are numerous anecdotes and comedic sketches, which parody plot structures, themes, images and specifics of the speech of advertising texts, as well as act as autonomous genres. The article under discussion regards the generation of a new text as a free game within aesthetic communication, whereby the author (the advertiser) and the recipient (the consumer) become equally successful partners. In addition, the article contains the analysis of certain samples, in which the aesthetics of an advertising text annihilates its immanent utilitarian form and creates an independent fiction text. Thus, the aesthetic component of an advertising text turns into a particular creative motive, a driving force in generating new literary texts.

Sign in / Sign up

Export Citation Format

Share Document