Estate and city as chronotope of autobiographical prose by I.A. Bunin

2020 ◽  
pp. 67-77
Author(s):  
Alexey I. Kondratenko ◽  
Keyword(s):  
Everyday Life ◽  
The Novel ◽  
The Past ◽  
Xix Century ◽  
The City ◽  
Provincial Center

The article considers the chronotope of autobiographical prose of I. Bun- in on the example of the Yelets estate and the city of Orel of the late XIX century. A compa rison of the content of the novel “The Life of Arseniev” with historical realities and letters of that time allows us to see how the writer artistically rethought the past, changing the idea of everyday life in the estate and in the provincial center in order to convey his ideas to the reader.

Re-membering Syria’s Traumatic Past: Gender, Poetics, and Loss in Manhal al-Sarrāj’s As a River Should

2021 ◽  
Vol 52 (1-2) ◽  
pp. 202-227
Author(s):  
Linda Istanbulli
Keyword(s):  
Armed Conflict ◽  
Armed Conflicts ◽  
Traumatic Memory ◽  
The Novel ◽  
Historical Interpretation ◽  
The Past ◽  
Traumatic History ◽  
History Of ◽  
And Gender ◽  
The City

Abstract In a system where the state maintains a monopoly over historical interpretation, aesthetic investigations of denied traumatic memory become a space where the past is confronted, articulated, and deemed usable both for understanding the present and imagining the future. This article focuses on Kamā yanbaghī li-nahr (As a river should) by Manhal al-Sarrāj, one of the first Syrian novels to openly break the silence on the “1982 Hama massacre.” Engaging the politics and poetics of trauma remembrance, al-Sarrāj places the traumatic history of the city of Hama within a longer tradition of loss and nostalgia, most notably the poetic genre of rithāʾ (elegy) and the subgenre of rithāʾ al-mudun (city elegy). In doing so, Kamā yanbaghī li-nahr functions as a literary counter-site to official histories of the events of 1982, where threatened memory can be preserved. By investigating the intricate relationship between armed conflict and gender, the novel mourns Hama’s loss while condemning the violence that engendered it. The novel also makes new historical interpretations possible by reproducing the intricate relationship between mourning, violence, and gender, dislocating the binary lines around which official narratives of armed conflicts are typically constructed.

The originality of the “estate topos” in the A.N. Tolstoy’s novel “Peter the First”

2020 ◽  
pp. 262-272
Author(s):  
Anna S. Akimova ◽  
Keyword(s):  
Everyday Life ◽  
The Novel ◽  
Childhood Memories ◽  
Research History ◽  
The Everyday ◽  
Peasant Household ◽  
History Of ◽  
Ancient Times ◽  
Poor Peasant ◽  
The City

Moscow is the city which united the characters of A.N. Tolstoy’s novel “Peter the First”. Kitay-Gorod is the space where the action of the first book is mainly set. In the novel Tolstoy showed in great detail the everyday life of the city and its inhabi- tants. According to the I.E. Zabelin’s research (“History of the city of Moscow”) in late 17 — early 18 th centuries Moscow was like a big village that is why Tolstoy relied on his childhood memories about the life in the small village Sosnovka (Samara Region) describing the streets of Moscow. The novel begins with the description of a poor peasant household of Brovkin near Moscow, then Volkov’s noble estate is depicted and Menshikov’s house. The space of the city is expanding with each new “address”. Moscow estates, and in particular, connected with the figure of “guardian, lover of the Princess-ruler” V.V. Golitsyn, in Tolstoy’s novel are inextricably linked with the character’s living and with the life of the country. The description of the palace built by Golitsyn at the peak of his career is based on the Sergei Solovyov’s “History of Russia in ancient times”. Golitsyn left it and went to his estate outside Moscow Medvedkovo and from there in exile.

scholarly journals «Немецкая Казань»: имагологический анализ художественных произведений Гузель Яхиной

2021 ◽  
Vol 16 (2) ◽  
pp. 141-152
Author(s):  
Michael Kuhn
Keyword(s):  
The Novel ◽  
Literary Works ◽  
Language And Culture ◽  
The Past ◽  
The Status ◽  
History Of ◽  
The Republic ◽  
Cultural Code ◽  
Analysis Of The Images ◽  
The City

German Kazan”: Imagological Analysis of Guzel Yakhina’s Literary Works| The capital of the Republic of Tatarstan is a multicultural city. It is a combination of “Russian,” “Tatar” and, not least, “German elements”. The writer Guzel Yakhina has repeatedly addressed this cultural diversity in her literary works. In them a native of Kazan explores the past and present of the city. Excellent knowledge of German language and culture allows her to study in detail the “German trace” in the history of the capital of Tatarstan to determine its status. The article offers a brief imagological analysis of the images of “German Kazan” presented in the novel Zuleikha and the essay Garden on the Border, or the Garden “Russian Switzerland”. The imagological study conducted at the macro-, meso- and micro-levels shows that in Yakhina’s literary works the images of “German Kazan” are equivalent to the images of “Russian Kazan” or “Tatar Kazan.” The “German elements” are firmly rooted inthe texture of the city and have been an integral part of its cultural code for several centuries. At the same time, following the novel and the essay, they do not have the status of an exotic “foreign,” but a familiar “other.” „Niemiecki Kazań”: imagologiczna analiza utworów Guzel Jachiny Stolica Republiki Tatarstanu to miasto wielokulturowe. To połączenie „rosyjskiego”, „tatarskiego” i, co nie mniej ważne, „niemieckiego” pierwiastka. Pisarka Guzel Jachina wielokrotnie odnosiła się do tej różnorodności kulturowej w swoich tekstach literackich. Rdzenny mieszkaniec Kazania odkrywa w nich przeszłość i teraźniejszość miasta. Doskonała znajomość języka i kultury niemieckiej pozwala autorce na szczegółowe zbadanie „niemieckiego śladu” w historii stolicy Tatarstanu w celu określenia jego statusu. Artykuł zawiera krótką analizę imagologiczną obrazów „niemieckiego Kazania”, przedstawionych w powieści Zulejkaotwiera oczy i eseju Ogród na granicy, czyli Ogród „Rosyjska Szwajcaria”. Badania imago-logiczne, przeprowadzone na poziomach makro-, mezo- i mikro-, pokazują, że w dziełach literackich Jachiny obrazy „niemieckiego Kazania” są równoważne obrazom „rosyjskiego Kazania” czy „tatarskiego Kazania”. „Elementy niemieckie” są mocno zakorzenione w strukturze miasta i od kilku stuleci stanowią integralną część jego kodu kulturowego. Jednocześnie, w powieści i eseju, nie mają one statusu egzotycznego Obcego, ale znajomego Innego.

scholarly journals Teju Cole's Nigeria and the open cities of New York and Brussels

2013 ◽  
Vol 46 (1-2) ◽  
pp. 3-11
Author(s):  
Igor Maver
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
The United States ◽  
The Novel ◽  
The Past ◽  
History Of ◽  
History Of Violence ◽  
Past Experiences ◽  
The City

The novel Open City (2011) by the Nigerian-born and raised author Teju Cole isset in New York City, where he has lived since 1992. The narrator and protagonist of the book, the young Nigerian doctor Julius in is a veritable flâneur in the Big Apple, who is observing the rapidly changing multiethnic character of the city and meditating on (his) history and culture, identity and solitude, and the world beyond the United States, with which it is interconnected through the global history of violence and pain. He is juxtaposing the past and the present, the seemingly borderless open city of New York, Nigeria, and the various European locales, particularly Brussels.Thenovel, although set in the United States, is constantly interspersed with his recollections of his past experiences conditioned by hiscomplex hybrid Nigerian-European-American identity.

scholarly journals MUSEUMFICATION OF EVERYDAY LIFE: EVERYDAY LIFE AS A SPACE OF MEMORY OF A BYGONE AGE

2021 ◽  
pp. 6-12
Author(s):  
Kateryna Butska
Keyword(s):  
Everyday Life ◽  
Collective Memory ◽  
Armed Forces ◽  
Eastern Bloc ◽  
The Novel ◽  
Museum Exhibits ◽  
Everyday Objects ◽  
The Past ◽  
German Armed Forces ◽  
Communist Past

The article is dedicated to the artistic and philosophical reflection on the everyday life of the communist era in the novel «The Museum of Unconditional Surrender» («Muzej bezuvjetne predaje», 1996) by Dubravka Ugrešić.The main attention is paid to the museumfication of elements of everyday life of the former Eastern bloc countries (SFRY, USSR in particular), i.e. transformation of material traces of the communist past into museum exhibits.After the fall of communist regimes in the Eastern bloc countries, and the disappearance of some of these states from the world map, entire layers of garbage and material remnants, including utilitarian objects accompanying the bygone everyday life, have remained. As long as the communist era has gone, the traces of its everyday life have acquired new meanings, associated with memory and nostalgia. These meanings define a new hypostasis of everyday objects: their hypostasis as museum exhibits.A world-famous Croatian writer Dubravka Ugrešić witnessed the formation and the breakup of Yugoslavia. In the novel«The Museum of Unconditional Surrender», written during her voluntary exile in Berlin, she depicts the museumfication of communist everyday life, revealing its new, metaphysical sense.The artistic world of the novel is organized within the metaphor of museum, which is emblematic for the postmodern philosophical and aethetical paradigm. The main action takes place in Berlin. Being a shelter for countless refugees and emigrants form the former socialist states, this city is seen as a total museum. Its dwellers repeatedly refer to themselves as to «walking museum exhibits». Thus, not only things, but also people get museumficated as remnants of a bygone era.The Museum of the Unconditional Surrender of the German Armed Forces, which gave the title to the novel, stands as a symbol of repressive mechanisms of the collective memory, promoting the coherent ideological metanarrative of the official history. Dubravka Ugrešić is aimed to deconstruct the museum as an ideological body, depicting some alternative storages of memory in the novel.First, it is the so-called «home museum» – a private collection of disordered photos and everyday things from the past. Besides, there are Berlin landfills and flea markets where things and people from the disappeared countries are found together. These alternative «museums» accumulate the uncoherent, subjective, heterogenic memory of the past. Such memory opposes the coherent metanarrative of a classic public museum.Looking through the different aspects of collective memory materialized in everyday objects, the article analyzes the relation between garbage and cultural memory, trivial objects and art, as well as the writer’s conception of museum.

scholarly journals Das formas como o passado sobrevive no presente: O caso das ruínas

ILUMINURAS ◽  
2011 ◽  
Vol 12 (29) ◽  
Author(s):  
Beatriz Rodrigues Ferreira
Keyword(s):  
Everyday Life ◽  
Social Issues ◽  
Rio Grande ◽  
Visual Anthropology ◽  
Contemporary Society ◽  
Rio Grande Do Sul ◽  
Ongoing Research ◽  
The Past ◽  
Cultural Themes ◽  
The City

Este ensaio é fruto de uma pesquisa em curso sobre as questões sociais e culturais que emergem da temática das ruínas, tomando como referência aquelas presentes na cidade de Rio Grande, situada no litoral do Rio Grande do Sul. Busca-se refletir sobre a temática da memória, em especial a memória ligada aos lugares do cotidiano, como o é a “casa”. A casa, elemento essencialmente afetivo, é compreendida aqui como o lugar onde as memórias são produzidas. Isto leva ao questionamento se estas casas em ruínas não seriam, essencialmente, elementos que demonstram que a memória é uma questão que emerge na sociedade contemporânea. Trabalha-se sobre essas questões, apresentando também um exercício de etnografia feito com e através da fotografia. Palavras chave: Ruínas. Antropologia Visual. Memórias.   About some ways how the past survives in the present: the case of the ruins. An essay about these tracks in the city of Rio Grande/ RS.   Abstract   This essay is the result of an ongoing research on social issues and cultural themes that emerge from the ruins, with reference to those that are presents in Rio Grande, situated on the coast of Rio Grande do Sul. It is studied the theme of memory, especially memory attached to the places of everyday life, as is the "home". The house, mainly affective element, is understood here as the place where memories are made. This leads one to question whether these homes ruined would not to be, essentially, evidences that memory is an issue that emerges in contemporary society. We work on these issues, presenting also an exercise in ethnography done with and through photography. Keywords: Ruins. Visual Anthropology. Memories.

scholarly journals Assembling a Revolution: Graffiti, Cairo and the Arab Spring

2014 ◽  
Vol 20 (1) ◽  
Author(s):  
John Lennon
Keyword(s):  
Everyday Life ◽  
Multinational Corporations ◽  
Arab Spring ◽  
The Past ◽  
Large Numbers ◽  
Tahrir Square ◽  
The Arab Spring ◽  
The City

This essay examines the ways revolutionary desire was articulated and interpreted through graffiti in Cairo, Egypt during the Arab Spring and its immediate aftermath. For writers in Cairo, graffiti was one of many in a constellation of resistances that undermined everyday life in Hosni Mubarak’s Egypt and the SCAF-controlled interim government. Ordinary surfaces of the city were illegally marked, displaying revolutionary potentiality by allowing the seemingly powerless rhetorical openings of engagement. Far from being a monolithic discourse, graffiti created geographies of material protest that were locally enacted but globally contextualized. Political graffiti, like the overall protests of the Arab Spring, emerged in large numbers at particular moments, but its numerous roots spread distinctly into the past. First contextualizing Cairo graffiti as a tool for revolutionary protest, the article then examines specific writers (Mahmoud Graffiti, Ganzeer), particular ‘battleground' spaces (Tahrir Square, Mohamed Mahmoud Street), different graffiti mutations (tags, pieces, murals) and contrary aesthetic manipulations of the form (‘No Walls’ campaign, graffiti advertisements by multinational corporations) in order to assemble a graffiti scene in Cairo as it follows the ebbs and flows of revolutionary desire.  

scholarly journals “Sarajevo. Plan grada”: the specifics of the chronotope

2020 ◽  
pp. 412-422
Author(s):  
Evgeniia V. Shatko
Keyword(s):  
Bosnia And Herzegovina ◽  
Historical Memory ◽  
The Novel ◽  
The Past ◽  
Key Space ◽  
Before And After ◽  
History Of ◽  
Kingdom Of Yugoslavia ◽  
The City

The scene of the novel written by M. Jergović “Sarajevo. Plan grada” (2015) — the writer’s hometown, the key space for all his writing. It’s some sort of a fl uid romanized map. The novel describes several cultural and historical Sarajevoes at the same time, such as an Ottoman city, and Austro-Hungarian, and Sarajevo during the Kingdom of Yugoslavia, and a city of the Tito era, and then Sarajevo before and after the war of the 1990s. in Bosnia and Herzegovina. The space of the city in the novel is the past of the today’s city, marked for the author by political and ideological attempts to recode and even erase the historical memory. The fragmented text of the novel consists of personal memories, literary plots, the history of the city, refl ections on memory and obliteration — it is a monument dedicated to the old, disappearing or even already dis-appeared Sarajevo. According to E. Kazas, Jergović created the most voluminous, comprehensive and most reliable image of Sarajevo in Bos-nian literature.

scholarly journals MEMÓRIA E SENTIDO A PARTIR DA CIDADE DE SÃO LUÍS DO MARANHÃO

2017 ◽  
Vol 2 (7) ◽  
pp. 26
Author(s):  
Antonio José De Araújo Ferreira
Keyword(s):  
Land Use ◽  
Cultural Heritage ◽  
Everyday Life ◽  
Literature Survey ◽  
Metropolitan Region ◽  
Empirical Reality ◽  
The Past ◽  
The City ◽  
Current Stage ◽  
Selection Of

Em oito de setembro de 2012 a capital do estado do Maranhão, São Luís, completou quatro séculos de existência, o que foi comemorado por toda a sociedade em que relevaram-se as transformações, saudosismo e estágio atual. O objetivo deste artigo é refletir sobre Memória e Sentido enquanto possibilidade de analisar o passado e vislumbrar o futuro dessa Cidade, que desde 1997 é Patrimônio Cultural da Humanidade e encabeça uma região metropolitana. Para tanto, utilizaram-se os seguintes procedimentos metodológicos: levantamento bibliográfico, cartográfico, documental e iconográfico; análise e seleção dos dados e informações obtidos; visita técnica a lugares que outrora e atualmente refletem e/ ou fazem parte do cotidiano da cidade de São Luís; interpretação dos dados e informações obtidos. A partir de três períodos (1612-1950; 1951-1996; e 2000-2010) recorre-se à importância da Memória como forma de revisitar a realidade empírica e apreender o Sentido da conformação da Cidade de São Luís. Concluiu-se que através das memórias da capital maranhense consegue-se analisar elementos e conteúdos, que desvendam as mudanças indicadas na periodização, sendo que no mais recente momento (2010-2016) destacam-se os porquês das substituições de uso do solo, novos hábitos e readaptações, aliados à necessidade do cidadão querer viver bem e cada vez melhor.Palavras-chave: Transformações; Memória; Capital maranhense.MEMORY AND DIRECTION FROM THE CITY OF SÃO LUÍS DO MARANHÃOABSTRACTIn 8 September 2012 the capital of the state of Maranhão, São Luís, completed four centuries of existence, which was celebrated by the whole society in which revealed that the transformations, nostalgia and current stage. The purpose of this article is to reflect on memory and meaning as possible to analyze the past and envision the future of this City, which since 1997 is a Cultural Heritage of Humanity and tops a metropolitan region. To this end, we used the following methods: literature survey, cartographic, documentary and iconographic; analysis and selection of data and information obtained; technical visits to places that once and now reflect and/ or are part of everyday life in the city of São Luís; interpretation of the data and information obtained. From three periods (1612-1950; 1951-1996; and 2000-2010) refers to the importance of memory as a way to revisit the empirical reality and grasp the meaning of the conformation of the city of São Luís. It was concluded that through the memories of the capital of Maranhão achieves to analyze elements and contents, which unveil the changes indicated in the periodization, and in more recent times (2010-2016) there are the whys of replacements of land use, new habits and adaptations, allied to the need of the citizen wanting to live well and better every time.Keywords: Transformations; Memory; Capital of Maranhão.LA MEMORIA Y LA DIRECCIÓN DESDE LA CIUDAD DE SÃO LUÍS DO MARANHÃORESUMENEn 8 de septiembre de 2012, la capital del estado de Maranhão, São Luís, completado cuatro siglos de existencia, que fue celebrado por toda la sociedad en la que reveló que las transformaciones, la nostalgia y la etapa actual. El propósito de este artículo es reflexionar sobre la memoria y significado como sea posible para analizar el pasado y avizorar el futuro de esta ciudad, que desde 1997 es Patrimonio Cultural de la Humanidad y encabeza una región metropolitana. Para ello, se utilizaron los siguientes métodos: estudio de la bibliografía, cartografía, documentales e iconográficas; análisis y selección de los datos y la información obtenida; visitas técnicas a lugares que una vez y ahora reflejan y/ o son parte de la vida cotidiana en la ciudad de São Luís; la interpretación de los datos y de la información obtenida. A partir de tres períodos (1612-1950; 1951-1996; y 2000-2010) se refiere a la importancia de la memoria como una manera de volver a la realidad empírica y captar el significado de la conformación de la ciudad de São Luís. Se concluyó que a través de los recuerdos de la capital de Maranhão logra analizar elementos y contenidos, que revelan los cambios indicados en la periodización, y en tiempos más recientes (2010-2016) existen los porqués de reemplazos de uso de la tierra, nuevos hábitos y adaptaciones, aliada a la necesidad del ciudadano de querer vivir bien y cada vez mejor.Palabras clave: Transformaciones; Memoria; Capital del estado de Maranhão.

scholarly journals Ироническое начало в фельетоне Киев-город Михаила Булгакова

2021 ◽  
Vol 46 (2) ◽  
pp. 125-134
Author(s):  
Antoni Bortnowski
Keyword(s):  
The Novel ◽  
Spiritual Values ◽  
Characteristic Element ◽  
The Past ◽  
Depth Analysis ◽  
The Subject ◽  
Stark Contrast ◽  
Colloquial Speech ◽  
The City

The subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works.

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