scholarly journals “In a Sea of Wonders:” Eastern Europe and Transylvania in the Irish-Language Translation of Dracula

2020 ◽  
Vol 12 (1) ◽  
pp. 70-83
Author(s):  
Sorcha De Brún
Keyword(s):  
Original Work ◽  
Figurative Language ◽  
Language Translation ◽  
Point Of View ◽  
Eastern European ◽  
The Novel ◽  
European Language ◽  
Irish Language ◽  
Starting Point ◽  
History Of

Abstract The publication of the Irish-language translation of Dracula in 1933 by Seán Ó Cuirrín was a landmark moment in the history of Irish-language letters. This article takes as its starting point the idea that language is a central theme in Dracula. However, the representation of Transylvania in the translation marked a departure from Bram Stoker’s original. A masterful translation, one of its most salient features is Ó Cuirrín’s complex use of the Irish language, particularly in relation to Eastern European language, character, and landscapes. The article examines Ó Cuirrín’s prose and will explore how his approaches to concrete and abstract elements of the novel affect plot, character, and narration. The first section explores how Dracula is treated by Ó Cuirrín in the Irish translation and how this impacts the Count’s persona and his identity as Transylvanian. Through Ó Cuirrín’s use of idiom, alliteration, and proverb, it will be shown how Dracula’s character is reimagined, creating a more nuanced narrative than the original. The second section shows how Ó Cuirrín translates Jonathan Harker’s point of view in relation to Dracula. It shows that, through the use of figurative language, Ó Cuirrín develops the gothic element to Dracula’s character. The article then examines Ó Cuirrín’s translations of Transylvanian landscapes and soundscapes. It will show how Ó Cuirrín’s translation matched Stoker’s original work to near perfection, but with additional poetic techniques, and how Ó Cuirrín created a soundscape of horror throughout the entirety of the translation.

L’absence chez Michel Butor. L’Emploi du temps et Degrés

2012 ◽  
pp. 66-80
Author(s):  
Michał Mrozowicki
Keyword(s):  
Human Memory ◽  
Point Of View ◽  
Narrative Discourse ◽  
The Novel ◽  
Michel Butor ◽  
Starting Point ◽  
One Year ◽  
The Moment ◽  
Narrative Mode ◽  
The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

scholarly journals Positivism in the Mirror of Carnival: The Rabelaisian Chronotope in the Works of E. Zola

2021 ◽  
Vol 26 (3) ◽  
pp. 519-528
Author(s):  
Olga V. Albrekht
Keyword(s):  
Point Of View ◽  
Universal Model ◽  
The Novel ◽  
Material World ◽  
French Renaissance ◽  
Cultural Conditions ◽  
History Of ◽  
Cultural Code ◽  
History Of Literature ◽  
Main Material

This paper deals with using the Rabelaisian cultural code, which the author of the article suggests to be applied to the reading and interpreting of some novels by E. Zola. From the authors point of view, such an experiment allows us to look at French naturalism from a new point of view, as a variant of a typologically recurring phenomenon in the history of literature. For the French naturalistic novel Rabelaisianism is considered as a kind of meaning-generating model, as appropriated communication or as an element of traditional literary discourse. The latter is actualized in a period when the cultural conditions and the nature of the main ideological and aesthetic conflicts became similar to the time of the French Renaissance. The author attempts to apply the theory of the carnival chronotope, which is developed by M.M. Bakhtin, to the interpretation of some of E. Zolas texts. Meanwhile, the concept of the chronotope is considered more widely than that of M.M. Bakhtin: it is proposed to understand the chronotope as a universal model of space-time relations in the novel. The author also views the poetics of the real in the naturalistic novel through the prism of the carnival (i. e. extremely detailed material world); as examples, the motives of food and wine, as well as the motive of rebellion and war as a variant of the war for food and the carnival battle of Shrovetide (pancake week) and Lent are analyzed in the article. The main material used for the analysis is taken from the novels Le Ventre de Paris , 1873 ( The Belly of Paris ), LAssommoir , 1877 ( The Trap ), and Germinal , 1885, by E. Zola.

scholarly journals Komenský in »čas skrajnosti« pri Slovencih 1: Velika didaktika in Komenský v zadnji izdaji

2020 ◽  
Vol 16 (32) ◽  
pp. 333-353
Author(s):  
Jonatan Vinkler
Keyword(s):  
Scientific Work ◽  
Scientific Publication ◽  
Point Of View ◽  
Original Text ◽  
Early 19Th Century ◽  
The Public ◽  
Critical Editions ◽  
Starting Point ◽  
Slovene Language ◽  
History Of

Komenský and “Age of Extremes” among Slovenes 1: Didactica magna (The Great Didactic) and Komenský in its latest Edition The discussion presents a semantic, rhetorical, historiographical, methodological and editorial analysis of the only edition of Jan Amos Komenský’s fundamental work in the modern Slovene language—Didactica magna or The Great Didactic (Sl. Velika didaktika, Novo mesto, 1995)—that was met with reception (i.e., was accessible to the public). The analysis suggests that this edition—for reasons unexplained—lacks the basic determinants of scientific work and thus cannot be a valid ground for the reception of Jan Amos Komenský, either for the reader-expert or for the general reader. From the editorial point of view, the edition does not provide clear information about the original text, and there is no editorial report or comment on individual passages of the original / translation, e.g. unravelling citations in the original—all of which have been the standard knowledge repertoire of scientific editions of sources, even scholarly critical editions of translations since the early 19th century. The edition is not based on the scientific publication Dílo Jana Amose Komenského 15/1 (Academia: Praha, 1986), which since its publication has been the primary textual base for every reader-expert’s understanding of The Great Didactic and a mandatory textual starting point for re-creative reception in the form of translation. The analysed edition does not include comments, and since it only provides translation without any additional knowledge apparatus, it cannot be considered as popularizing either. The current situation impedes a full reception of Komenský and indicates the need to prepare a new critical translated edition of his selected didactic writings, where optimal results could be achieved by collaboration of experts from various disciplines (different branches of historiography, didactics, pedagogy, history of science). The edition should be 1) written in modern literary language and based on the historical-critical edition of Dílo Jana Amosa Komenského. 2) It should include selected fundamental didactic writings of Komenský, 3) obligatory editorial and translation report, 4) explanatory comments and translations, and 5) European studies on Komenský in his time, as well as 6) discussions on the reception of Komenský in Slovenia. Keywords: Komenský (Comenius), Didactica magna (The Great Didactic), reception, editology, edition

scholarly journals Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

scholarly journals THE PORTRAIT OF THE AMERICAN WOMAN IN MARGARET MITCHELL'S NOVEL "GONE WITH THE WIND"

2019 ◽  
Vol 31 (6) ◽  
pp. 1749-1753
Author(s):  
Lirije Ameti
Keyword(s):  
Women Characters ◽  
American Woman ◽  
Point Of View ◽  
The Novel ◽  
Gone With The Wind ◽  
Woman Character ◽  
The Us ◽  
The Usa ◽  
Artistic Achievement ◽  
History Of

This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A masterpiece of 1037 pages published in 1939 and subsequently in the greatest and longest motion picture on screen. Piling up records and building it's own history and legends. The novel has sold in more than 25 million copies in at least 27 languages in thirty countries and in more than 185 editions according to the research conducted in 2004. These figures continue to increase, not to mention that the film is seen by more individuals than the total population of the USA. GWTW has grown and conflated into a phenomenon of American and later into a phenomenon of levels of basic appreciation after international popular culture. Thus criticism was attested at the levels of basic appreciation , often in the opposite poles of love and /or hate , the evaluation again in bipolar terms of praise and / or scorn. On the popular level the book was lauded and in the literary world it was defamed. Mitchell's novel " Gone With The Wind " was seen as important symbols of American culture forces. A serious biography in 1965 sparked reconsiderations simply by the assumption of Mitchell's importance as a writer. Other re- evaluations followed which asserted the literary quality of the work, notably in feminist terms. Attesting the qualities that critics wrote such as Michener who said: " The spiritual history of a region". Many other scholarly papers have been undertaken to attack it and completed to praise it. Because of the enormous popularity , readability , embodiment of the heroine woman character Scarlett O'Hara with many other women who saw themselves in those situations or experienced the same then or even nowadays. These multi themes to discuss about, issues primarily of women, the novel is defined as a woman's literary artistic achievement, seen through the eyes off a woman Scarlett herself and many other women characters. Is seen the distinction of the past and present of the old and new society. Mitchell herself says it is about courage and gumption to change as a necessity in order to survive war, reconstruction and transition. The search of survival by poor and nearly defeated young women who had no control or capacity to understand these tensions. Indeed this novel has become an icon of the US culture.

scholarly journals THE NOVEL «RESURRECTION» BY LEO TOLSTOY AS AN EPIC – THE AUTHOR’S APPROACH TO THE IMAGE OF FACTS OF CONTEMPORANEITY AND THEIR APPRAISAL

2020 ◽  
pp. 132-138
Author(s):  
Nadezhda G. Mikhnovets
Keyword(s):  
Cultural Context ◽  
Point Of View ◽  
Leo Tolstoy ◽  
Russian Society ◽  
Creative Work ◽  
The Novel ◽  
Value System ◽  
Starting Point ◽  
Contemporary Life ◽  
The Common

The novel «Resurrection» by Leo Tolstoy It is regarded as an epic one in the article. What is attributed to its specific features, includes – the fundamental importance of the common, folkish in the value system of the book, as well as the encyclopedic coverage of the late 19th century Russian life. What became the starting point for considering the material, is raising the problematic question of the inevitable contradiction between the objective re-creation of contemporaneity and the heightened subjectivity of Leo Tolstoy’s late creative work, which the increased ethical pathos is characteristic of. The article argues that the «removal» of the contradiction is due to the nature of the novelist’s approach to depicting the facts of contemporaneity. This approach implies the scale of generalisations, the correlation of the facts of contemporary life with folkish life, immersion of the facts in a voluminous historical and cultural context, including the historical and literary one. It is stressed that the author’s subjective coverage of St. Petersburg life paradoxically becomes a handwriting of the image of an objective picture. This is due to the fact that the author, who describes and evaluates the processes of contemporary life from the point of view of substantial and «due», relies on the folkish «view of things». In general, the coverage and assessment of trends in the development of contemporary Russian society are given in the novel «Resurrection» in an epic perspective.

Freedom and Religious Worldview

2021 ◽  
Vol 64 (3) ◽  
pp. 137-159
Author(s):  
Mikhail Yu. Sergeev ◽  
Aleksandr E. Rybas
Keyword(s):  
Human Life ◽  
Real Life ◽  
Religious Faith ◽  
Point Of View ◽  
Religious Worldview ◽  
Starting Point ◽  
Philosophy And Religion ◽  
The Status ◽  
History Of ◽  
Philosophical Understanding

The article, written in the form of a dialogue/discussion, examines the problem of freedom in the context of its interpretation in religious and philosophical thought. The starting point for considering freedom is the thesis that the concept of freedom, as it is presented in the metaphysical and spiritual traditions, hinders both the philosophical understanding of freedom and its implementation in practice since the status of the concept requires the identification of freedom with the knowledge of freedom. However, the knowledge, as it always implies being universal, excludes the possibility of a different understanding of freedom, which leads to the confusion of freedom and necessity. While criticizing this thesis, Mikhail Sergeev insists that the adoption of a particular system of beliefs, including religious faith, does not necessarily make other people understand freedom the same way, which leads to the elimination of freedom in real life and to the substitution of freedom by necessity on theoretical level: as the history of philosophy and religion shows, there have always been many different concepts of freedom, even within the same school or tradition. From the point of view of Aleksandr Rybas, the variety of interpretations of freedom is such only formally since each of these interpretations is aimed at formulating the only one, “true” concept of freedom, resulting from the chosen point of view and therefore making it necessary to characterize alternative views as false: the very idea of “true” freedom is rooted in the specifics of metaphysical thinking, which should be seen the reason for the rejection of freedom. As a result of the discussion, however, some common views on freedom were developed. In particular, freedom was defined as the inherent ability of man to consciously initiate his own changes and determine the parameters of his own existence. Moreover, it was argued that there could not be the only valid or universal form of human life.

LEONID DESYATNIKOV. CHAMBER OPERA "POOR LIZA" (History of creation. Libretto and literary source)

2021 ◽  
pp. 14-21
Author(s):  
Diana Aksinenko ◽  
◽  
Elena Bogatyreva ◽  
Keyword(s):  
Comparative Analysis ◽  
Chamber Opera ◽  
Point Of View ◽  
The Novel ◽  
Literary Source ◽  
The Poor ◽  
History Of ◽  
The Creation

The article tells us about chamber opera "Poor Liza" by L. Desyatnikov, which is based on the novel by N. Karamzin. Also a brief description of the composer's works is given. The history of the creation and releases of the "Poor Lisa" is reviewed. The typical features of the chamber opera genre are revealed. The genre specifics of the work are analyzed from the dramatical point of view with the help of a comparative analysis (textual) of the literary source and the text of the libretto.

European Language and the Resistance

2020 ◽  
pp. 93-128
Author(s):  
Julia Elsky
Keyword(s):  
Jewish People ◽  
Language Choice ◽  
Postwar Period ◽  
The Novel ◽  
European Language ◽  
Shared History ◽  
European Democracy ◽  
History Of ◽  
Multiple Languages ◽  
The Way

This chapter looks at language choice within the context of Franco-Polish relations in the Resistance in Romain Gary’s novel Éducation européenne. It draws on Mikhail Bakhtin’s concept of heteroglossia to analyze characters who speak in multiple languages but whom Gary represents in French. Gary’s use of heteroglossic French and of multilingualism in the novel is a response to the politics of La France libre, the journal where excerpts from his novel were first published. French and Polish authors of numerous articles focus on links between France and Poland—especially through a shared history of Romantic Revolution—as an expression of European democracy, one that could pave the way for a united Europe in the postwar period. Gary represents this link through language, but he also inserts Jewish language into the discussion, including the Jewish people in a European Resistance.

scholarly journals Introduction to the Issue

2009 ◽  
Vol 6 (1) ◽  
pp. 3-5
Author(s):  
Katherine K. Preston
Keyword(s):  
Nineteenth Century ◽  
The United States ◽  
American Music ◽  
Point Of View ◽  
Musical Life ◽  
Nineteenth Century America ◽  
Starting Point ◽  
History Of ◽  
The Subject ◽  
The Many

The history of music in nineteenth-century America, and the place of music within American culture of the period, is an area of scholarly inquiry that recently has received increased attention. It is also, as the varied articles collected in this issue illustrate, a complex topic and an area ripe for much additional research. The four articles deal with different aspects of nineteenth-century American music history and culture; in each, however, there are also areas of overlap and intersection. All four authors use as a starting point issues that have already been the subject of some scholarly attention, and examine these topics either more thoroughly or from a new theoretical or contextual point of view. The resulting aggregate should help readers to understand better a complicated and under-explored world, for all four articles highlight the complexity of musical life in America and explore some of the many ways that cultural life in the United States reflected and resonated with that of Europe. All four authors, furthermore, either hint at or explicitly mention areas that are ripe for further research.

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