scholarly journals O RECURSO DO MÉTODO – UMA LEITURA INTERTEXTUAL

Organon ◽  
2004 ◽  
Vol 18 (37) ◽  
Author(s):  
Tatiana Selva Pereira
Keyword(s):  
Cultural Identity ◽  
Latin American ◽  
Literary Work ◽  
Alejo Carpentier ◽  
American Identity ◽  
The Novel ◽  
Literary Theories ◽  
The World ◽  
Literary Device ◽  
Definition Of

This essay studies the Cuban novel El Recurso del Método by the Cuban novelist Alejo Carpentier,precursor of the “marvelous realism” in the Americas from a comparative perspective of literary theories andnotions such as intertextuality, the cultural decolonization process, deterritorialization, literary and culturalhybridism and the search for cultural identity within the historical, social and political framework ofCarpentier’s literary rendering. Some fundamental notions about the historical evolution of comparativeliterature are dealt with to better comprehend the importance of Carpentier’s literary work, his contribution to agenuine Latin American identity as well as the inclusion of this peripheral literature into the world literature.Providing some examples of this literary device present in the novel, the origin and definition of the so-called“marvelous reality” are focused. The intertextual nature of Carpentier’s text and its carnavalized discourse, itshybrid features and the transcultural issues are outlined in this essay as well.

scholarly journals PECULIARITIES OF PRESERVING CULTURE-SPECIFIC ELEMENTS IN LITERARY TRANSLATION

2020 ◽  
pp. 67-75
Author(s):  
Елена Николаевна Мозжегорова ◽  
Юлия Петровна Ильина
Keyword(s):  
Cultural Identity ◽  
Social Life ◽  
Literary Work ◽  
Cultural Background ◽  
Literary Translation ◽  
Historical Period ◽  
The Novel ◽  
The World ◽  
Way Of Thinking ◽  
Adequate Communication

В статье рассматривается актуальная проблема сохранения культурно-специфической лексики в литературных произведениях при переводе с русского языка на английский. Очевидно, что такая лексика в первую очередь представлена безэквивалентной лексикой, а именно реалиями культуры определенного народа, отражающими его языковую картину мира, формирующуюся на основе образа жизни и мышления, и не имеющими эквивалентов в другой культуре. Авторы литературных произведений часто прибегают к использованию культурно-национальной лексики для формирования определенного образа героев, описания исторического и культурного фона происходящих событий. Вследствие этого адекватная передача реалий и содержащейся в них культурно-специфической информации в литературном переводе становится важным аспектом сохранения культурной самобытности художественного произведения. Основной проблемой становится поиск адекватных средств и стратегий перевода реалий с учетом функционирования культурно-специфической лексики в структуре художественного произведения. Материалом для исследования послужил роман Гузели Яхиной «Зулейха открывает глаза» и его перевод на английский язык «Zuleikha», выполненный Лизой Хейден. Анализируемое произведение можно отнести к исторической прозе, так как в романе раскрываются закономерности общественной жизни, облик людей в их неповторимости, обусловленной описываемой эпохой, и реалии приобретают особую контекстуальную значимость. The article is devoted to the problem of preserving culture-specific vocabulary literary translation from Russian into English in fiction works. It is obvious, that such vocabulary is first of all represented by words with no direct equivalents in other languages and cultures, namely, culture-specific elements of the culture of a certain people, within its linguistic view of the world, which is formed on the basis of their lifestyle and way of thinking. Writers often resort to the use of culture-specific words to create a certain image of heroes and to describe the historical and cultural background of the events in the literary work. So, an adequate communication of these elements in literary translation becomes an important aspect of preserving the cultural identity of an author’s work. The main problem is to find adequate means and strategies for translating culture-bound vocabulary with the consideration of its functioning in the structure of a literary work. The material for the analysis was taken from the novel Zuleikha by Guzel Yakhina and its translation into English by Lisa Hayden. The novel under study can be referred to historical prose, since it describes objective laws of social life, unique image of people of the presented historical period, where culture-bound elements acquire specific contextual significance.

CULTURAL IDENTITY AND SYMBOLIC INTERACTIONISM IN KARMA BROWN’S NOVEL “RECIPE FOR A PERFECT WIFE”

2021 ◽  
Vol 8 (2) ◽  
Author(s):  
Alia Afiyati ◽  
Divya Widyastuti ◽  
Yoga Pratama
Keyword(s):  
Cultural Identity ◽  
Symbolic Interactionism ◽  
Literary Work ◽  
Cultural Identities ◽  
George Herbert ◽  
The Novel ◽  
Female Characters ◽  
George Herbert Mead ◽  
The Past ◽  
Stuart Hall

In a literary work, two characters can be narrated as the attention center that contains the cultural identity from certain generation. Meanwhile, a symbol actually can cause an interaction within characters. This research discusses about cultural identity and symbolic interactionism reflected in a novel. There is a novel entitled “Recipe for a Perfect Wife” by Karma Brown that tells about two female characters that are represented as a housewife from different generation. This research uses descriptive qualitative as the research methodology and content  analysis as the method in analyzing the object of the research, a novel entitled “Recipe for a Perfect Wife”. This research also uses the intrinsic approach to analyze the characterization, plot, and setting. This research reveals two kinds of a housewife. They are a housewife and working woman, and a full-housewife. This research finds five cultural identities in the past and present time that is related with a housewife reflected by two female characters in the novel by using cultural identity theory by Stuart Hall. This research also reveals the symbol and memory even three concepts of symbolic interactionism that is mind, self, and society based on symbolic interactionism theory by George Herbert Mead.

scholarly journals RUSSIAN PROSE OF KAZAKHSTAN: EURASIANITY AND DIALOGUE OF CULTURES

2020 ◽  
Vol 7 (5(74)) ◽  
pp. 6-9
Author(s):  
S.V. Ananeva
Keyword(s):  
Literary Work ◽  
Literary Texts ◽  
The Novel ◽  
Aesthetic Perception ◽  
The World

The poetry of the large genre form –the story and the novel includes «openness» as a fundamental opportunity that is endowed with the author and the reader. The poetics of works «in motion» creates a new mechanism of aesthetic perception, expanding the national picture of the writer's world. The concept as a focus of knowledge about the world expands the boundaries of the study of prose by I. Schegolikhin, T. Frolovskaya and K. Keshin. The concepts of the Motherland, memory, oblivion in the literary texts of Russian writers of Kazakhstan are extremely important. A literary work enters into complex non-textual relations with the surrounding reality, expanding the spiritual horizon of society, while preserving traditions and continuity

Mimēsis

2018 ◽  
Author(s):  
Glenn W. Most
Keyword(s):  
Literary Work ◽  
Literary Theories ◽  
The World

A crucial term in the literary theories of Plato and Aristotle, mimesis describes the relation between the words of a literary work and the actions and events they recount. In Plato, the term usually means ‘imitation’ and suggests that poetry is derived from and inferior to reality; in Aristotle, it loses this pejorative connotation and tends to mean simply ‘representation’ and to indicate that the world presented in a poem is much like, but not identical with, our own.

scholarly journals Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman
Keyword(s):  
Visual Art ◽  
The Other ◽  
Artistic Expression ◽  
The Novel ◽  
Literary Context ◽  
Contemporary Novels ◽  
The World ◽  
The One ◽  
Definition Of

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

scholarly journals Powieść historyczna pod czujnym okiem cenzora – analiza tekstów

Adeptus ◽  
2015 ◽  
pp. 11-25
Author(s):  
Thibault Deleixhe
Keyword(s):  
Historical Novel ◽  
Literary Work ◽  
Literary Form ◽  
The Novel ◽  
Spectral Character ◽  
Romantic Period ◽  
Definition Of ◽  
Main Protagonist

The historic novel under the vigilance of the censor – analysis of textsThis article focuses on the relation that Jacek Bochenski’s historical novel entitled The poet Naso published in 1969 presents towards the concept of censorship. In the article the author aims at proving that the understanding of censorship by Bochenski is similar to the observations of the Hungarian essayist Mikos Haraszti. Tracking the allegoric references scattered through the novel, the author of the article reconstructs Bochenski’s reflection about this internalized censorship and checks its convergence with Haraszti’s remarks. From this exercise emerges a definition of the role of the artist that seems to be inherited from the romantic period: an artist as a person that subordinates himself unconditionally to art, and not to the temporal power. The author of the article then interrogates the respect which Bochenski has been showing to his definition in his literary work. It appears that the writer has been prone to make bigger concessions in order to soften the reception of his book by the censors than he advises his writing colleagues. However, the literary strategies deployed by Bochenski operate on two levels: creating an overall ambiguity about the guilt of its main protagonist, they tend to soften its reception by the censorship; while at the same time, rendering this overall atmosphere of ambiguity, they give a literary form to the spectral character of the guilt of the artist, who – as in Ovidius’ case – is permanently accountable for what he has not yet done in the building of communism. Powieść historyczna pod czujnym okiem cenzora – analiza tekstówArtykuł poświęcony jest  powieści historycznej Jacka Bocheńskiego pt. Nazo poeta z roku 1969 i jego rozumieniu pojęcia cenzury uwewnętrznionej. Autor artkułu udowadnia, że ujęcie problemu cenzury przez Bocheńskiego jest zbliżone do konstatacji węgierskiego eseisty Miklósa Harasztiego. Tropiąc alegoryczne odniesienia do cenzury rozproszone w tej powieści, autor artykułu odtwarza refleksję Bocheńskiego i sprawdza jej zbieżność z uwagami Harasztiego. Z rekonstrukcji wyłania się, zapożyczona z okresu romantyzmu, definicja artysty jako osoby bezwarunkowo podporządkowanej sztuce, a nie władzy. Autor artykułu testuje czy Bocheński pozostaje wierny tej definicji we własnej twórczości i uwypukla skłonność pisarza do ustępstw mających na celu złagodzenie odbioru jego dzieła przez cenzurę. Są to ustępstwa większe od tych, które zdaje się zalecać swoim kolegom po fachu. Strategie literackie, które stosuje Bocheński, działają jednak na dwóch płaszczyznach. Tworząc niejednoznaczność winy głównego bohatera powieści, łagodzą jej odbiór przez cenzurę, a jednocześnie – kreując tę niejednoznaczność – pozwalają na literackie przedstawienie widmowego charakteru winy artysty, który jest zawsze odpowiedzialny – tak jak Owidiusz – za to, czego jeszcze nie zrobił. W tym wypadku czego nie zrobił dla budowy komunizmu.

scholarly journals The characters of Eremey Aipin is pursuit of identity (based on the novel “In Search of the Primordial Land”)

Litera ◽  
2021 ◽  
pp. 78-88
Author(s):  
Tatyana Yuryevna Kolyagina
Keyword(s):  
National Identity ◽  
Cultural Memory ◽  
Literary Work ◽  
Comprehensive Approach ◽  
The Novel ◽  
Methods Of Analysis ◽  
The World ◽  
Identity Based ◽  
The Subject ◽  
Identification Analysis

The subject of this article is the problem of identity of the characters in the novel &ldquo;In Search of the Primordial Land&rdquo; by the regional Khanty writer Eremey Aipin. The goal is to describe the key vectors of reflections of the main characters on personal and national identity. The author aims to analyze the path of spiritual and social becoming, as well as finding true identity in the world and society of the protagonists of the novel &mdash; &ldquo;man of the kin&rdquo; Matvey Taishin and the hero &ldquo;without kith or kin&rdquo; Roman Romanov. The study leans on the interdisciplinary comprehensive approach, with the use of cultural-historical, typological, ethno-cultural, axiological and imagological methods of analysis. The scientific novelty lies in examination of the characters of the literary work from the perspective of their identity and identification. Analysis is conducted on the two ways of finding true identity by the characters in the small and big world. Path of &ldquo;man of the kin&rdquo; is the cognition of capabilities of staying in the world, strengthening of inviolable faith as the essential link in the chain of life, nature, Cosmos, and humanity. Path of the hero &ldquo;without kith or kin&rdquo; is a series of initiations (according to V. Y. Propp), as a result of which he gradually assimilates to the &ldquo;earthly world&rdquo;, having acquired the experience of merging with society. It is proven that solution of the questions on personal, social and national identity of the characters of the novel is interrelated with the author's traditionalistic worldview. The conclusion is made that in a crisis historical situation, the characters of the novel intuitively tilt towards ancient cultural memory of humanity, seeing its as a basis for reconstruction of identity.

scholarly journals Cultural Identity of Citizens of Gdańsk from an Ethnolinguistic Perspective on the Basis of Chosen Texts of the Free City of Danzig

2015 ◽  
pp. 133-157
Author(s):  
Izabela Olszewska
Keyword(s):  
Cultural Identity ◽  
Common Denominator ◽  
Common Time ◽  
Treaty Of Versailles ◽  
Starting Point ◽  
The First World War ◽  
The World ◽  
Free City Of Danzig ◽  
The One ◽  
Definition Of

Cultural Identity of Citizens of Gdańsk from an Ethnolinguistic Perspective on the Basis of Chosen Texts of the Free City of DanzigAs a consequence of the First World War and in the wake of the Treaty of Versailles the Free City of Danzig was established. The image of Danzig identity was created, first of all, by the following ethnic groups: German, Polish and Jewish. Was the Free City of Danzig multicultural or was it German with Polish and Jewish minorities? Did those nationalities live beside each other, did they together, as citizens of Danzig, create a common reality? Is it possible to talk about a uniform culture/identity of Danzig? The aim of this article is an analysis of linguistic image of the world of the citizens of the Free City of Danzig, which has been carried out on the basis of characteristics of the image of relations and cultural differences in the interpretation of Polish community. Yet, the whole image of identity consists of a mosaic of smaller interpretations which, only after being reduced to the lowest common denominator, may give the holistic image of Danzig identity as an image of a common multiple subjectivity. Mutual perception of nationalities inhabiting the area of the Free City of Danzig is the starting point for the discussion on their identity and an attempt to answer the question: did the citizens of Danzig see themselves as one community – exactly the one of Danzig? The analysed research material consists of chosen texts of the local press (in Polish and occasionally in German) concerning socio-cultural and political and informative issues. The Polish "Gazeta Gdańska" had been published since 1891 as the first Polish Danzig newspaper in Polish. Its first aim was to integrate Polish circles and to defend the rights of the Polish. "Danziger Neuesten Nachrichten", published since 1894, was the biggest Danzig conservative newspaper in German which influenced public opinion. In the analysis of the linguistic image of Danzig identities I will consider first of all the following scientific issues after Bartmiński: a) the way of defining common identity i.e. “who we are” – autostereotypes; b) the ways of linguistic perception and definition of the others i.e. “who they are” – heterostereotypes; c) the ways of conceptualization of space and ‘our place in the world’ and the common time in which we live. Tożsamości kulturowa gdańszczan w ujęciu etnolingwistycznym na przykładzie wybranych tekstów publicystycznych Wolnego Miasta Gdańska W konsekwencji I wojny światowej oraz na mocy postanowień Traktatu Wersalskiego utworzono Wolne Miasto Gdańsk (WMG). Na obraz tożsamości gdańskiej w okresie WMG składały się przede wszystkim następujące grupy etniczne: niemiecka, polska i żydowska. Czy Wolne Miasto Gdańsk było wielokulturowe, czy też niemieckie z mniejszościami polską i żydowską? Czy narodowości żyły obok siebie, czy wspólnie jako gdańszczanie kreowały swoją wspólną rzeczywistość? Czy w odniesieniu do WMG można mówić o jednolitej kulturze/tożsamości gdańskiej? Celem artykułu jest analiza językowego obrazu świata tożsamości gdańszczan w okresie Wolnego Miasta Gdańska, dokonana na podstawie charakterystyki obrazu związków i różnic kulturowych w interpretacji społeczności polskiej. Całkowity obraz tożsamości składa się bowiem z mozaiki mniejszych interpretacji, które dopiero sprowadzone do wspólnego mianownika mogą ułożyć się w całość jednej tożsamości gdańskiej, niejako na zasadzie obrazu wielopodmiotowości zbiorowej. Wzajemne postrzeganie się narodowości zamieszkujących obszar WMG jest punktem wyjścia do rozważań na temat ich tożsamości oraz próbą odpowiedzi na pytanie: czy gdańszczanie widzieli siebie, jako jedną społeczność - gdańską właśnie? Analizowany materiał badawczy to wybrane teksty publicystyki gdańskiej o charakterze kulturalno- społecznym oraz informacyjno-politycznym przede wszystkim w języku polskim oraz sporadycznie w języku niemieckim. Polska "Gazeta Gdańska", wydawana była od roku 1891 jako pierwsze pismo gdańskie w języku polskim. Pierwotnym jej celem była integracja kół polonijnych oraz obrona praw polskich. "Danziger Neueste Nachrichten", wydawane od 1894, było największym gdańskim opiniotwórczym dziennikiem w języku niemieckim o charakterze konserwatywnym. W analizie językowego obrazu tożsamości gdańskich z perspektywy społeczności polskiej autorka rozważa za Bartmińskim przede wszystkim następujące problemy badawcze: a) sposób określania tożsamości zbiorowej, tj. ‘kim jesteśmy my’ – autostereotypy; b) sposób postrzegania i językowego ujmowania innych, tj. ‘kim są oni’ – heterostereotypy oraz c) sposoby konceptualizacji przestrzeni i ‘naszego miejsca w świecie’ oraz czasu wspólnotowego, w którym żyjemy.

scholarly journals Cultural Identity in Film Posters

2021 ◽  
Author(s):  
◽  
Jessica Freire
Keyword(s):  
Cultural Identity ◽  
Latin American ◽  
Visual Analysis ◽  
Film Industry ◽  
Cultural Representation ◽  
American Identity ◽  
Mainstream Media ◽  
Art Form ◽  
Present Complex ◽  
Technological Developments

<p>This thesis investigates the current representation of the Latin American identity in mainstream media cinematic posters. While in recent years, the film industry has begun to acknowledge issues in cultural representation, current Latin American portrayals continue to lack depth and rely on ill-informed historical stereotypes.  Cinematic promotional posters were once considered an art form, but recent technological developments and the Hollywood culture has led them to become formulaic, unoriginal, and lifeless. In an attempt to enrich the conversation around diversity, and reinterpret the power of the film poster, the visual portrayal of the Latin American identity in film posters will be analysed and redressed to present complex, multidimensional characters and narratives that embrace and emphasise their current cultural identity. This research portfolio presents a visual analysis of 120 film posters, identifying and categorising key themes, tropes, and elements that form stereotypical representations. This analysis informs an iterative design process. It utilises Latin American visual design language to reinterpret the possibilities that film posters have in creating elaborate narratives that treat audiences with respect and complexity. The resulting designs were used as prompts for discussion and critique with relevant stakeholders, to further inform conversations about cultural representation through design and inform further iterations.  This process ultimately suggests a method of culturally embedded film promotion design. By re-imaging film posters through Latin American design traditions, I will offer an alternative perspective on Latin American characters that challenge dominant stereotypes.</p>

scholarly journals Central Asian Social Types as an Orientalism Pattern in Leonid Solovyov’s Prose

2021 ◽  
Vol 18 (1) ◽  
pp. 44-59
Author(s):  
Eleonora F. Shafranskaya ◽  
Tatyana V. Volokhova
Keyword(s):  
Twentieth Century ◽  
Literary Work ◽  
Soviet Period ◽  
The Novel ◽  
Research Focus ◽  
General Sense ◽  
Cultural Methods ◽  
Central Asian ◽  
The World ◽  
The Subject

The literary work of the Russian writer Leonid Solovyov (1906-1962) was widely known in the Soviet period of the twentieth century - but only by means of the novel dilogy about Khoja Nasreddin. His other stories and essays were not included in the readers repertoire or the research focus. One of the reasons for this is that the writer was repressed by Stalinist regime due to his allegedly anti-Soviet activities. In the light of modern post-Orientalist studies, Solovyovs prose is relevant as a subcomponent of Russian Orientalism both in general sense and as its Soviet version. The Oriental stories series, which is the subject of this article, has never been the object of scientific research before. The authors of the article are engaged, in a broad sense, in identifying the features of Solovyovs Oriental poetics, and, narrowly, in revealing some patterns of the Central Asian picture of the world. In particular, the portraits of social and professional types, met by Solovyov there in 1920-1930, are presented. Some of them have sunk into oblivion, others can be found today, in the XXI century. Comparative, typological and cultural methods are used in the interdisciplinary context of the article.

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