scholarly journals Stylistic features of the surrealistic experimental prose of Věra Linhartová

2020 ◽  
Vol 13 (1) ◽  
pp. 15-26
Author(s):  
Marina Kotova ◽  
◽  
Daria Lakomova ◽  
Keyword(s):  
Author(s):  
Olga A. Vasileva ◽  

This article discusses one relatively unknown aspect of the French writer and philosopher, Michel Butor’s works — his literary criticism through the example of “Improvisations sur Rimbaud”. Poet’s works are investigated by Butor unattainable apart from the stages of his life, and the most significant poems — in the context of the epistolary heritage of Rimbaud. Most attention is paid to the chapter “Improvisations”, dedicated to the collection of Rimbaud’s “Illuminations”: to the development of the theme of the city and its transformation, the role of structural rhyme and reprise at the beginning of the line overturning the classical system of versification, the appearance in the texts of Rimbaud mathematical structure. The new poetic language, the innovative artistic techniques of the poet , which are used in the composition of a number of texts in the collection, comprehensively explored by Butor, had an undeniable influence on the direction of the research for new literary forms in the works of Butor: his novel “Degrès”, which uses the numerical structure as a method of total description of reality as well as a number of texts written in the genre of experimental prose in which fragmentation is elevated to an aesthetic principle, the idea of synthesizing the arts is implemented and endless intertextual interactions are created.


Author(s):  
Mary Lou Emery

This chapter focuses on the veranda in Rhys’s writing as an architectural space that opens onto multiple stories, its material history embedded within five centuries of imperial conquest and conflict, the slave trade, the Middle Passage, the plantation, and the plantation’s legacies in city spaces of early 20th-century Europe. As a creolized architectural form, the veranda speaks also to global circuits stretching from its origins in West Africa and India through Europe and the Americas, with the Caribbean as a central point of transit. I analyse the veranda in Rhys’s writing – including several of the short stories and the novels Wide Sargasso Sea, Voyage in the Dark, and Good Morning, Midnight – as framing key characters, conflicts, and events within the transcontinental reach of this deep history. The layering of time and space, as built into the veranda, situates also the experimental prose of Rhys’s Caribbean modernism.


2020 ◽  
Vol 2 (2) ◽  
pp. 83-96
Author(s):  
Anna Maria Cipriani

Defined as “the decade of translations”, the 1930s saw the publication of Virginia Woolf’s novels Orlando, Flush, and To the lighthouse in Italian. In the cultural and political context of Fascism, this is unexpected, given the peculiarities of Woolf’s experimental prose. Italian literary criticism was firmly founded on a normative anti-modernist canon, supported by both the Catholic Church, which decried modernism and excommunicated some modernist writers, and by the literary movement led by the anti-Fascist and liberal philosopher Benedetto Croce. This de facto intellectual dictatorship complemented the official cultural policy of the Fascist regime by generating another dimension of censorship that invariably affected the publication of periodicals and books. The present work focuses on the effects of this triple (political, moral, and literary) censorship on the first translation of To the lighthouse.


Author(s):  
Louis de Paor

This chapter explores the parallels and disjunctions between Máirtín Ó Cadhain and Flann O’Brien, with particular reference to the extent to which formal experiment in both writers owes as much to the specific circumstances of Irish culture, politics, and language in the middle decades of the twentieth century as it does to European modernism and postmodernism. The chapter examines the centrality of both writers’ detailed knowledge of the Irish language and its narrative traditions to their experimental prose fictions. The chapter argues that Ó Cadhain’s insight into lives blighted by economic injustice and bureaucratic tyranny has lost little of its political urgency in the half-century since his death, while Ó Nualláin’s work continues to deride a world in which absurdity insists on being taken seriously and the distortion of language is a defining attribute of power.


2021 ◽  

Abraham Sutzkever (Yiddish: Avrom Sutskever; Hebrew: Avraham Sutskever) (b. 1913–d. 2010) was a titan of Yiddish literature. Over the course of six decades, he published more than thirty volumes of poetry and prose. He also edited the most important postwar Yiddish journal of arts and letters, Di goldene keyt, from 1949 to 1995. From his youth in Vilna and Siberia to his later years in Tel Aviv, Sutzkever insistently posited the power of poetry to sustain life and culture. His wartime experiences further marked the writer as both poet and hero. During his incarceration in the Vilna Ghetto, he served as a member of the “Paper Brigade,” rescuing the cultural heritage of the Jewish community of the “Jerusalem of Lithuania.” He also took up arms as a partisan fighter in the forests surrounding the city. After the war, he testified in graphic detail at the Nuremberg Tribunals at the request of the Soviet Union. A writer of wide-ranging interests—from the frozen tundra of Omsk to the cafés of Paris, from the cellars of the Vilna Ghetto to the shores of the Red Sea—Sutzkever continually exercised his neologistic skills, poeticizing his present life in conversation with the memories of his past and his cultural ambitions for the future. Some of his most prominent volumes include his first collection, Lider (Poems), published in Warsaw in 1937; his epic poem Sibir (Siberia), illustrated by Marc Chagall and published in Jerusalem in 1953; the series of experimental prose poems of memorialization, Griner akvaryum (Green Aquarium), published in Jerusalem in 1975; and one of his later volumes, Lider fun togbukh (Poems from a Diary), published in Tel Aviv in 1977.


Author(s):  
Gert-Jan Meyntjens

AbstractThis chapter analyzes literary advice culture from a transnational-comparative perspective. It sheds light on the reception of the American poetics of creative writing in contemporary France by examining the specific case of Outils du roman: Avec Malt Olbren sur les pistes et exercices du creative writing à l’américaine (2016, Tools of the Novel. Exploring American Creative Writing with Malt Olbren) by the experimental prose-writer François Bon. This text represents a broader dynamic in which French authors of literary advice resort to a repertoire of American writing techniques in an attempt to revive French literature. To conceptualize this process of transfer, I use Deleuze and Guattari’s concept of “minor literature.” This notion conveys how literary advice in France must constantly position itself vis-à-vis its American counterpart, but also how it appropriates and transforms this same body of ideas and techniques. More generally, this chapter makes a case for an increased consideration of supranational transfers in the domain of literary advice when studying processes of local literary change.


2017 ◽  
Vol 12 (1) ◽  
pp. 98-119
Author(s):  
Mark S. Morrisson

This article explores the apocalyptic fervor of 1917 as a context for the rise of the esoteric modernism of W. B Yeats and Aleister Crowley, paying special attention to the contributions of Crowley's Moonchild to a specifically modernist form of esoteric fiction. Moonchild featured a modernist synthesis of ritual, transpersonal epistemology, experimental prose, and a play of competing popular genres in a contemplative fiction that continued to impact twentieth-century culture well beyond the death of its author. This literature turned to communications with spirit entities and to ritual magic to reveal spiritual interpretations of a world in which the flux of modernity augured technologically sophisticated war as a permanent state of affairs, the world of 1917.


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