scholarly journals Kafkaesque motifs in Kunwar Narain’s novels

2020 ◽  
Vol 25 (4) ◽  
pp. 705-713
Author(s):  
Ksenia A. Lesik
Keyword(s):  
19Th Century ◽  
Literary Tradition ◽  
Franz Kafka ◽  
Indian Literature ◽  
Deep Impact ◽  
Hindi Literature ◽  
The 19Th Century ◽  
Literary Devices ◽  
European Modernism

Since the 19th century European literary tradition indisputably influenced the development of Indian literature. Indian intellectuals, familiarizing particularly with the inheritance of European modernism, follow works of modernist writers, accept their key themes and motifs, thereby bring new literary devices and images into Indian literature. One of the main authors, whose novels have made a deep impact on the development of Hindi literature, is Franz Kafka. The influence of his works is extremely visible across India. Indian writers create Kafkaesque worlds and protagonists in their own novels and stories. One of Hindi novelists, who refers to Franz Kafkas motifs, is Kunwar Narain. In Indological studies his name is associated with poetry. However, he is not only a representative of New Hindi poetry (Naī Kavitā), but a novelist also. The article is focused on Franz Kafkas influence on Indian writers fiction. It is determined in what period and in which novels Kunwar Narain uses kafkaesque motifs. The perception of Kafkas worldview concept in Kunwar Narains novels is studied. It is an attempt to find out what new Indian prose-writer brings to a kafkaesque picture of world. It is also analyzed, in what Indian literary material and in what Indian literary tradition imagery he applies the images of Kafkas stories.

scholarly journals In Spite of Dungeon, Fire, and Sword: Peadar Ó Gealacáin and the survival of the Gaelic Irish Literary Tradition

Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 52-60
Author(s):  
Ciarán Dawson
Keyword(s):  
Small Group ◽  
19Th Century ◽  
Western Europe ◽  
Literary Tradition ◽  
Ethnic Cleansing ◽  
Irish Language ◽  
Literary Movement ◽  
The 19Th Century ◽  
Subsequent Failure

As we advance through the 19th century in Ireland, the Irish Gaelic Literary tradition, one of the oldest in Western Europe, found itself in danger of extinction. The failure of the Irish language to find foothold in the towns and cities, and the subsequent failure of the language’s literary movement to transition itself into the printed mode, left the literature and poetry locked within the oral and manuscript traditions. With the ethnic cleansing of Ireland by Westminster well under way, first through forced emigration and then through famine, a small group of scribes set themselves the mammoth task of preserving this national treasure by travelling the country and writing down the songs, poems, and prose which were the result of centuries of literary effort on the part of the native Irish. By the end of the period the population had fallen from almost 9.000.000 at its height to less than 4.000.000: with no monoglot Irish speakers left. However due to the efforts of this small group of individuals we retain most of our literary wealth. This work tells the story of one of them, Peadar Ó Gealacáin.

scholarly journals Virtue as Adventure and Excess: Intertextuality, Masculinity, and Desire in the Twilight Series

2013 ◽  
Vol 5 (2) ◽  
pp. 213-237
Author(s):  
Claudia Lindén
Keyword(s):  
Women Writers ◽  
19Th Century ◽  
Gender Norms ◽  
Literary Tradition ◽  
Gothic Fiction ◽  
Sexuality And Gender ◽  
Literary Figure ◽  
And Gender ◽  
The 19Th Century ◽  
Twilight Series

The vampire is still primarily a literary figure. The vampires we have seen on TV and cinema in recent years are all based on literary models. The vampire is at the same time a popular cultural icon and a figure that, especially women writers, use to problematize gender, sexuality and power. As a vampire story the Twilight series both produces and problematizes norms in regard to gender, class and ethnici-ty. As the main romantic character in Twilight, Edward Cullen becomes interesting both as a vampire of our time and as a man. In a similar way as in the 19th century novel the terms of relationship are negotiated and like his namesake Edward Rochester, Edward Cullen has to change in important ways for the “happy end-ing” to take place. In spite of a strong interest in sexuality and gender norms in relation to vampires very few studies have focused exclusively on masculinity. This article examines the construction of masculinity in relation to vampirism in the Twilight series. It offers an interpretation of Stephenie Meyer’s novels and the character of Edward as part of a broader field of feminist (re-)uses of the vampire in modern literature with its roots in the literary tradition from Austen and the Brontë-sisters as well as from classic Gothic fiction.

Latin American Jewish Literature

2012 ◽  
Author(s):  
Ilan Stavans
Keyword(s):  
Latin America ◽  
20Th Century ◽  
19Th Century ◽  
Latin American ◽  
Religious Identity ◽  
Jewish History ◽  
Literary Tradition ◽  
Late 20Th Century ◽  
American Jewish ◽  
The 19Th Century

Jewish writing in Latin America is a centuries-old tradition dating back to the arrival of Christopher Columbus in the Americas. During the colonial period, it manifested itself among crypto-Jews who hid their religious identity for fear of being persecuted by the Holy Office of the Inquisition. Assimilation mostly decimated this chapter, which is often seen as connected with Sephardic literature after the expulsion of Jews from Spain in 1492. New waves of Jews arrived in the last third of the 19th century from two geographic locations: the Ottoman Empire (this wave is described as Levantine and its languages as Ladino, French, Spanish, and Arabic) and eastern Europe (or Ashkenazi with Yiddish, German, and central European tongues). Jewish life thrived in Latin America throughout the 20th century. The largest, most artistically productive communities were in Argentina, Brazil, Cuba, and Mexico, and smaller ones existed in Venezuela, Colombia, Peru, Guatemala, Panama, and Uruguay. Identity as a theme permeates everything written by Latin American Jewish writers. Central issues defining this literary tradition are immigration, anti-Semitism, World War II, Zionism, and the Middle Eastern conflict. The Jewish literary tradition in Latin America has undergone crossovers as a result of translations, global marketing, and the polyglot nature of several of its practitioners. This field of study is still in its infancy. Some important studies on Latin American Jewish history, either continental in scope or by country, appeared in the late 20th century and serve as context for the analysis. The literature has received less attention (some periods, such as the 19th century, are entirely forgotten), although, as this article attests, things are changing. The foundation for daring, in-depth literary explorations as well as interdisciplinary analysis is already in place. When possible this article showcases available monographs, although important research material remains scattered in periodicals and edited volumes.

Aleksei Kurbatov, Vasilii Tatishchev and the Testament of Ivan the Terrible of 1572

2010 ◽  
Vol 37 (3) ◽  
pp. 250-273
Author(s):  
Cornelia Soldat
Keyword(s):  
19Th Century ◽  
Early 19Th Century ◽  
Russian State ◽  
History Of ◽  
Ivan The Terrible ◽  
The 19Th Century ◽  
Literary Devices

AbstractThe only surviving copy of a Testament of Ivan the Terrible stems from the beginning of the 19th century with a watermark from 1805. In January 1822 the director of the Foreign Office's archive, Aleksei Malinovskii, sent the testament to the historian and novelist Nikolai Karamzin, who was working on his History of the Russian State, and who published it in the commentary to the ninth volume of the History. An analysis of Aleksei Kurbatov's and Vasilii Tatishchev's alledged authorship of the testament's preface and commentary leads to the conclusion that the testament displays the literary devices of a fictional text. The preface presents a story complete with the grammatically ambiguous signature ,,A. Kurbatova“, a host of conflicting dates and several lost copies of a lost original. The argument for Tatishchev's authorship rests solely on some peculiarities concerning the publications of his personal copy of the Sudebnik of 1550. The questions surrounding the testament are resolved easily when one takes into account the literary hints and regards the text as an early 19th-century mystification.

scholarly journals TO THE QUESTION OF MYTHOPOETICS IN BATYRBEK TUGANOV’S WORKS

2021 ◽  
pp. 126-135
Author(s):  
А.А. ЗИМА
Keyword(s):  
Coordinate System ◽  
19Th Century ◽  
Literary Tradition ◽  
World Order ◽  
Literary Text ◽  
Semantic Level ◽  
The World ◽  
Russian Literary ◽  
Xix Century ◽  
The 19Th Century

Рубеж XIX–XX вв. выявляет интереснейшие особенности культурных векторов, показывает пути синтеза и интеграции различных направлений и видов искусств, стилей, философских базисов мировоззренческих систем. Творчество одного из самых ярких осетинских писателей Батырбека Туганова развивалось в русле реалистической системы, заложенной русской литературной традицией XIX в. При этом его художественное мышление выстраивается под сильнейшим влиянием особенностей национальной осетинской культуры. В целом культура реализма XIX в. стремится к демифологизации. Но Туганов живет и творит на рубеже столетий, когда, наоборот, возрождается интерес к мифу, символу, древним шифрам искусства. В произведениях Батырбека Туганова можно выделить ряд мифопоэтических конструктов, рожденных в недрах архаической культуры осетин и обладающих сакральной образностью. Картина мира этого писателя сложна, многоуровнева, удивительно органична и емка в своей архитектонике реалистического сюжета и мифопоэтической вневременной сути образов и событий. Особенность почерка Туганова в том, что он всегда выписывает образы очень цельно, выпукло, фактурно. Автор доводит портреты персонажей и сюжетные линии до масштаба мифологической цельности восприятия. Такому принципу работы над литературным текстом могло способствовать дарование Б. Туганова-художника, навыки скульптора, живописца и рисовальщика, реализованный внутренний творческий механизм визуализации вербального образа. При чтении произведений Туганова психология человека, далекого от эпохи архаики, монтируется с синкретическим базисом нашего подсознания. Реализм Туганова становится генетическим продолжением глубокого и древнего мифологизма осетинской культуры, усиливает свои позиции и выходит на новый образно-семантический уровень. При том, что в произведениях Батырбека Туганова «Ханифа» и «Пастух Баде» анализируется целый ряд особенностей мифологического текста, Туганов остается реалистом. Его реализм в том, что писатель выявляет сбой в системе координат традиционного миропорядка, нарушение мифологической гармонии человека и мира. Неореалистический метод как будто «взламывает» древние коды установленного миропорядка, заставляя нас еще острее воспринимать мифологемы нашей культуры. The frontier of the XIX-XX centuries reveals the most interesting features of cultural vectors, shows the ways of synthesis and integration of various areas and types of arts, styles, philosophical bases of worldview systems. The work of one of the brightest Ossetian writers Batyrbek Tuganov developed in line with the realistic system laid down by the Russian literary tradition of the 19th century. At the same time, his artistic thinking is built under the strongest influence of the features of national Ossetian culture. The culture of realism of the XIX century strive for demythologization. But Tuganov lives and works at the turn of centuries, when, on the contrary, interest in myth, symbol, ancient ciphers of art is revived. In the works of Batyrbek Tuganov, a number of mythopoietic constructs born in the bowels of the archaic Ossetian culture and having sacred imagery can be distinguished. The picture of the world of this writer is complex, multilevel and surprisingly organic and capacious in its architectonics of a realistic plot and mythopoietic timeless essence of images and events. The peculiarity of Tuganov’s handwriting is that he always writes out images very whole, convex, factual. The author brings portraits of characters and storylines to the scale of mythological integrity of perception. This principle of work on a literary text could be facilitated by the talent of B. Tuganov-artist, the skills of the sculptor, painter and draftsman, and the implemented internal creative mechanism for visualizing the verbal image. When reading the works of Tuganov, the psychology of a person far from the period of archaic is mounted with the syncretic basis of our subconscious. Tuganov’s realism becomes a genetic continuation of the deep and ancient mythologism of Ossetian culture, strengthens its position and reaches a new figurative-semantic level. Despite the fact that the works of Batyrbek Tuganov “Hanifa” and “Shepherd Bade” analyze a number of features of the mythological text, Tuganov remains a realist. His realism is that the writer reveals a failure in the coordinate system of the traditional world order, a violation of the mythological harmony of man and the world. The neorealist method seems to “crack” the ancient codes of the established world order, forcing us to even sharper perceive the mythologies of our culture.

scholarly journals Transforming the image of Yakutia in Russian lyric poetry

2021 ◽  
pp. e021026
Author(s):  
Anna Igorevna Oshchepkova ◽  
Evdokiya Maksimovna Dorofeeva
Keyword(s):  
19Th Century ◽  
Lyric Poetry ◽  
Literary Tradition ◽  
Russian Literature ◽  
Foreign Culture ◽  
Russian Poetry ◽  
Russian Literary ◽  
The 19Th Century

The topic of the reception of Russian classics is often considered in the context of the formation of Yakut literature to determine the influence of Russian literature on the genesis of the Yakut written tradition. In the study of the genesis of Yakut literature, the focus is usually on the influence of Russian literature. Therefore, there is already sufficient experience in determining the degree of reliance of literature with a recent system of writing on the Russian literary tradition. Nevertheless, the question of the influence of the Yakut theme on the formation of the creative consciousness of Russian writers is also difficult. Upon close examination, the reception of a foreign culture appears to be sufficiently differentiated: the influence of the Yakut culture was predominantly indirect. The Yakut theme in Russian literature has a receptive character since there was no concept of the Yakut context at all in the socio-cultural situation of the 19th century. Writers begin to form the "Yakut text" in Russian literature based on the perception of the listener and the reader. Thus, the comprehension of the Yakut culture follows the path of recoding the texts of an "alien" tradition into the language of "one's own" literary tradition. The article deals with the transformation of the image of Yakutia in the works of Russian poets of the 19th–20th centuries. The trend is considered from the perspective of expanding the aspects of the figurative representation of Yakutia and the nature of perception of Russian poetry to the Yakut national topos and is divided into several stages.

scholarly journals Rzeczowniki z przyrostkiem -ota w Panu Tadeuszu Adama Mickiewicza (analiza słownikowa)

2019 ◽  
pp. 125-132
Author(s):  
Monika Szpiczakowska
Keyword(s):  
19Th Century ◽  
Literary Tradition ◽  
Lexical Analysis ◽  
The Poor ◽  
The 19Th Century

The article is dedicated to a lexical analysis of adjectival nouns with the –ota suffix in Adam Mickiewicz’s Pan Tadeusz. Out of five nouns, viewed against the 19th century language norm, four are definitely archaisms. These are the words: ciemnota meaning <ciemność - darkness>, szczodrota (generosity) and some uses of the words cnota (virtue) and hołota (the poor and badly educated). On top of the noun ciemnota meaning <ciemność - darkness> which is a typical Easter Borderlands archaism, they should be traced back to the literary tradition. This is corroborated by the fact that the poet used them in an informed way to make the text sound like Old Polish. Therefore, with respect to the function and the archaic origin, the nouns with the –ota suffix in the text of “Pan Tadeusz” can be divided into two groups: stylistic archaisms which come from the literary tradition (szczodrota, partly cnota and hołota) plus systemic archaisms which belong to Mickiewicz’s idiolectal system (ciemnota meaning <ciemność - darkness>).

Grammatical Descriptions in Manchu Grammar Books from the Qing Dynasty

2019 ◽  
Vol 41 (1) ◽  
pp. 39-55
Author(s):  
Takashi Takekoshi
Keyword(s):  
19Th Century ◽  
Qing Dynasty ◽  
The Qing Dynasty ◽  
Chinese Scholars ◽  
High Degree ◽  
The 19Th Century

In this paper, we analyse features of the grammatical descriptions in Manchu grammar books from the Qing Dynasty. Manchu grammar books exemplify how Chinese scholars gave Chinese names to grammatical concepts in Manchu such as case, conjugation, and derivation which exist in agglutinating languages but not in isolating languages. A thorough examination reveals that Chinese scholarly understanding of Manchu grammar at the time had attained a high degree of sophistication. We conclude that the reason they did not apply modern grammatical concepts until the end of the 19th century was not a lack of ability but because the object of their grammatical descriptions was Chinese, a typical isolating language.

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