“WAS SIE ANRÜHREN, SCHMILZT”. THOMAS BERNHARD’S PAINTER STRAUCH AND THOMAS MANN’S JESUIT NAPHTA

2021 ◽  
pp. 112-121
Author(s):  
Dmitry A. Belyakov ◽  
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
The Self ◽  
Internal Conflict ◽  
The Novel ◽  
Research Perspective ◽  
The Subject ◽  
Analysis Of The Images

This article is devoted to a comparative analysis of the images of the painter Strauch, the character in the novel by Th. Bernhard “Frost”, and the Jesuit Naphta, the character of Th. Mann’s “The Magic Mountain”. Such a research perspective is due to the fact that in the work of the Austrian and German classics many characteristic leitmotifs like the crisis of the subject and the search for the Self, the ambivalent being of the artist, the theme of rejection of a career, the theme of illness and death, all go back to those figures. A comparative analysis of the images of Strauch and Naphta allows shedding additional light on the specificity of Th. Bernhard’s reception of Th. Mann’s work, as well as expanding the idea of the artistic originality of the сharacter-“anti-educator” requested by the novel of the 20th century. While the differences between an artist and Jesuit are predominantly formal, their similarities reveal a conceptual systemic basis. Strauch and Naphta are related by Ungrund (groundlessness): both willingly appeal to the “prelogical”, both are prone to introversion, misanthropy and nihilism. It is emphasized that the internal conflict experienced by Strauch and Naphta allows them to feel much more subtly the drama of the “spiritual situation of time”. Without denying the self-destructive intellectual and ideological orientation of Strauch and Naphta, the author of the article comes to the conclusion that it is necessary to underline the cognitively constructive potential of their problematizing “pedagogy”.

John of Kronshtadt and Leo Tolstoy

2020 ◽  
Vol 102 ◽  
pp. 471-478
Author(s):  
Peter A. Shevchenko
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Real Life ◽  
Leo Tolstoy ◽  
Russian Society ◽  
Common People ◽  
Religious Consciousness ◽  
The Subject ◽  
Main Components

The article provides a comparative analysis of the influence of L.N. Tolstoy and I.I. Sergiev (John of Kronstadt) on the formation of personal worldview in Russian society. The analysis is based on the testimonies of the contemporaries and the previously not reissued publication of “Novy Put” (“New Way”) journal on the subject. In the context of the declared problematics, special attention is paid to the question of transformation of religious consciousness in the course of the personality formation in relation to the period under consideration (the beginning of the 20th century). The author reveals and analyzes the main components of the life stand of Tolstoy and Father John of Kronstadt in the context of their influence on contemporaries. The results of the study allow to reveal the following antitheses that characterize Tolstoy and John of Kronstadt, respectively: doubt - faith, search for oneself – following the once chosen path, preaching of non-resistance as part of the philosophy of not-doing (not doing evil) – preaching of active upholding of faith (doing good), “simple living” – real life with and for common people.

scholarly journals O romance de Ricardo Lísias: janelas escancaradas para o sujeito hipermoderno

2016 ◽  
Vol 51 (4) ◽  
pp. 491
Author(s):  
Ana Cláudia Munari ◽  
Taíssi Alessandra Cardoso da Silva
Keyword(s):  
Media Studies ◽  
Contemporary Literature ◽  
The Self ◽  
Police Chief ◽  
The Novel ◽  
The Media ◽  
The Subject ◽  
Media Narratives ◽  
Self Reference ◽  
Critical Production

A partir da análise dos romances de Ricardo Lísias e da sua produção autocrítica, este trabalho busca entender algumas relações entre a literatura de autoficção e a publicização do sujeito autor imerso no universo midiático. Partindo de uma revisão bibliográfica que conceitua os objetos aqui circunscritos e de uma apreciação anterior sobre a produção literária de jovens escritores brasileiros selecionados pela revista Granta em 2012, estreitamos nossa focalização no movimento do romancista em direção à escrita de si e à autorreferência. Nesse sentido, analisamos e contextualizamos a modalidade de escritura denominada autoficção, especialmente no que tange às aproximações entre as instâncias do narrador e do autor e entre biografemas e ficção (FIGUEIREDO, 2013; KLINGER, 2012), e evocamos estudos da Sociologia e da Comunicação de modo a caracterizar a sociedade da qual emerge o corpus deste estudo (LIPOVESTKY, 2004; SANTAELLA, 2012). A partir desse contexto, investigamos as obras literárias – O céu dos suicidas (2012), Divórcio (2013) e Delegado Tobias (2014) – e as narrativas midiáticas de Ricardo Lísias e identificamos nelas estratégias da publicidade.********************************************************************The novel by Ricardo Lísias: wide open windows to the subject hypermodernAbstract: Through the analysis of the novels of Ricardo Lísias and its self-critical production, this work intends to understand some relationships between the self-fiction literature and the popularization of the subject author immersed in the media universe. Starting from a literature review that conceptualizes the objects herein bounded and an earlier assessment of the literary production of young Brazilian writers selected by Granta magazine in 2012, we strengthened  ur focus on the novelist's movement toward the writing itself  nd self-reference. Pursuing this aim, we analyzed and contextualized the form of writing named autofiction, especially with regard to the similarities between instances of the narrator and the author and between biographema and fiction (FIGUEIREDO, 2013; KLINGER, 2012). We also evoked Sociology and Media Studies to characterize the society of which emerges the corpus of this study (LIPOVESTKY, 2004; SANTAELLA, 2012). From these premises, we investigated the literary works – Céu dos suicidas (Heaven suicide, 2012), Divórcio (Divorce, 2013) and Delegado Tobias (Tobias, the police chief, 2014) – and the media narratives of Ricardo Lísias and finally we identified his advertising strategies.Keywords: Self-ficction; Contemporary literature; Hypermodernity; Ricardo Lísias

Alternative Literary Modernities: A Voice from Colonial Punjab

2018 ◽  
Vol 66 (1) ◽  
pp. 35-48
Author(s):  
Arti Minocha
Keyword(s):  
Middle Class ◽  
Literary Culture ◽  
The Self ◽  
Subject Position ◽  
Close Reading ◽  
The Novel ◽  
Discursive Space ◽  
Political Subject ◽  
The Subject ◽  
Language Content

Abstract This paper looks at the formation of colonial print publics in Punjab, the gendered subjectivities that emerged in this new discursive space, and middle-class women’s deployment of print to articulate the self. This will be done through a close reading of one of the first novels in English, Cosmopolitan Hinduani, which was published in Lahore, Punjab, by a woman in 1902. The essay examines the narrator’s notion of a gendered cosmopolitanism and the subject position that it affords, her attempt at going beyond the fault lines of religion to articulate a liberal and modern political subject, while reworking the cosmopolitan/local binary. How does her insertion of herself as a gendered subject in the provincial, national, cosmopolitan imaginary reflect in the author’s choice of language and genre? My attempt will be to see the novel and its author as part of a literary culture in which she made certain choices about the form, language, content, and audience.

scholarly journals A prímszámok könyve

2016 ◽  
Vol 55 (1-2) ◽  
Author(s):  
Beatrix Visy
Keyword(s):  
20Th Century ◽  
Prime Numbers ◽  
Human Existence ◽  
The Self ◽  
The Novel ◽  
New Meanings ◽  
Definition Of

The self-definition of Szilárd Borbély’s only novel – limited fiction based on biographical elements – makes biographical and referential readings possible, thus we can interpret the text as the novel of 20th century poverty and traumatised childhood. However, the aspects of interpretation are concerned with the methods of fiction, the existential and metaphysical questions of the book: the child narrator’s tone offers the vision of a childhood rolling in an eternal present. This, together with the amnesia that interweaves the whole text, suggests a hopeless state of being. The feelings of otherness and solitariness, the signs of the absurdity of waiting for a Messiah and the representation of misery expand to an antrophological stance. New meanings can be attributed to the image of desperate human existence by the motif of prime numbers. The novels of Péter Esterházy, Sándor Tar and Tibor Noé Kiss are also discussed in connection with the representation of poverty and teodicea.

scholarly journals “Own” and “alien” space in the novel “Dead Men Walking” by Steve Lyons

2021 ◽  
pp. 79-86
Author(s):  
Evgenii Vadimovich Vasil'ev
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Literary Studies ◽  
The Novel ◽  
Historical Method ◽  
Long Time ◽  
The Subject

The subject of this research is the peculiarities of organization of space in the novel “Dead Men Walking” by Steve Lyons from the perspective opposition “own – alien”. The research employs the cultural-historical method and comparative analysis. The article examines the peculiarities of perception of space in the novel. The basic conflict is association with intervention of the alien civilization on the planet of people. Emphasis is placed on the fact that the war erases the boundaries of “own” and “alien”, each of parties to the conflict has reason to believe that the planet is “their own”. The characters of the novel are divided into “living” and “dead”, which complicates the conflict and organization of space even more. Space in the literary text is the subject of multiple scientific articles. However, the works dedicated to examination of space in S. Lyons’ novel are not featured in modern literary studies, which defines the scientific novelty of this research. The conclusion is drawn that  for humanity and for alien civilization space is simultaneously “own” and “alien”, since other civilization existed on the planet for a long time prior to the arrival of humans. Moreover, the organization of space is complicated by the arrival of human forces of rom other planet, who were unfamiliar with the concept of “own” space at all, which affects the course of war and determines the fate of the characters in the novel. Such approach demonstrates that the concept of “own” and “alien” in the novel is vague due to the fact that it is impossible to unambiguously attribute the planet neither to “own” nor “alien” space.

scholarly journals THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE

2021 ◽  
Vol 6 (3) ◽  
pp. 49-72
Author(s):  
Александра Владимировна Елисеева
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Close Reading ◽  
Theodor Fontane ◽  
The Novel ◽  
Hierarchical Relationship ◽  
The Subject ◽  
Effi Briest

The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

scholarly journals Madeleine Blais-Dahlem et sa vision de l’autotraduction

2020 ◽  
Vol 18 (2) ◽  
pp. 46-60
Author(s):  
Małgorzata Czubińska
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
The Self ◽  
Close Reading ◽  
Literary Field ◽  
Privileged Status ◽  
The Subject ◽  
Marco Micone ◽  
Patrice Desbiens

Nowadays self-translation remains a frequent practice in the literary field in Canada. A close reading of the self-translations done by Canadian writers such as Nancy Houston, Marco Micone or Patrice Desbiens allows to discover each author’s own vision of self-translation as a creative process. The aim of the paper is to determine, through a comparative analysis of excerpts from the two language versions of the play La Maculée/sTain (2012) and the latest bilingual novel La voix de mon père / My Father’s Voice (2015) by Fransaskois playwright Madeleine Blais-Dahlem, to what extent her self-translating practice guides the reading of the text. Examiningthe back and forth between the two versions of the same work will allow to delve deeper into the subject of the identity and privileged status of the translator (Tanqueiro 2009: 109, Saint 2018: 120), but also into the role and skills of the receiver of Madeleine Blais-Dahlem’s bilingual writings.

scholarly journals Biographical and artistic in M. Y. Lermontov’s novel “Princess Ligovskaya” and the drama “Two Brothers”

Litera ◽  
2020 ◽  
pp. 27-35
Author(s):  
Ekaterina Andreevna Denisova
Keyword(s):  
Comparative Analysis ◽  
Crucial Role ◽  
Early Period ◽  
Literary Texts ◽  
The Novel ◽  
Artistic Interpretation ◽  
The Subject ◽  
The Common

This article is dedicated to a comparative analysis of two works by M. Y. Lermontov, which represent the interpretation of the common biographical context. The subject of this research is the specificity of transformation of the biographical fact into the artistic generalization in the works of M. Y. Lermontov. The object of this research is the drama "Two Brothers" and the novel Princess Ligovskaya” viewed within the paradigm of artistic comprehension of the scenario of unfaithfulness, or destruction of love as conceptually important in the conflict present in the works of M. Y. Lermontov. Such approach, based on interrelation between the creative and biographical, allows making important remarks on specificity of the phenomenon of autobiographism in the works of M. Y. Lermontov. The author analyzes the initial biographical situation (relationship between Lermontov and V. A. Lopukhina), and concludes that two literary texts – drama and novel – represent a distinct system of creative reflection of the biographical fact. It is established that in the process of creating the drama, and the novel later on, Lermontov ensues the need for artistic interpretation and resolution of the situation of unfaithfulness as an instance, and in a broader sense – as an ontological pattern; however, the conflict cannot be settled within the framework of this storyline. Since 1837, autobiographism in Lermontov's works ceases to play the crucial role; in other words, personal situation and its artistic interpretation no longer coincide, which renders impossible to continue the novel. Such circumstance allows realizing the reasons of incomplete works of Lermontov’s early period, which lie in inability to resolve love conflicts with a positive finale.

scholarly journals Re-imagining Histories, Re-inventing the Self in Ian McEwan’s Atonement

2019 ◽  
pp. 165-176
Author(s):  
Vanja Vukićević Garić
Keyword(s):  
The Self ◽  
The Novel ◽  
Existential Psychology ◽  
Ethical Dimension ◽  
Creative Imagination ◽  
Main Assumption ◽  
The Core ◽  
The World ◽  
Personal Histories ◽  
The Subject

Justifiably classified as an example of postmodern realism, or a “restorative metafiction” (O’Hara), Ian McEwan’s popular and critically acclaimed novel Atonement (2001) in its entirety reasserts its author’s frequently cited statement that “imagining what it is like to be someone other than yourself is at the core of our humanity.” Focusing mainly on the metafictional ending, which, as a kind of unusual post-scriptum, introduces a thematic, structural and an ontological twist re-directing the whole story, this paper explores the limits and the power of creative imagination to re-generate, amend and meaningfully extend personal histories, pointing to the fundamentally ethical dimension of the contemporary self-conscious fiction. The phenomenological connection between ars memoria, imagining, (re-)writing and the Self is seen through the main assumption of the existential psychology that the subject is capable of transcending oneself, recreating and re-inventing oneself in and by means of narrating the self as well as others. Analysing Briony Tallis as both a character and an author within the novel, in her narrative of her own as well as others’ histories, this paper will address ethical possibilities of the self-reflective fiction to connect subjectivity to the world questioning at the same time the boundaries of past, present and the idea of reality.

Архетипне підґрунтя вибраної творчості Віри Вовк: образ богині Іштар та інші персонажі

2021 ◽  
pp. 125-148
Author(s):  
Olha Smolnytska
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Rio De Janeiro ◽  
The Novel ◽  
The Bible

The study proposes to analyze the image of the goddess Ishtar in selected works of the Ukrainian writer in Rio de Janeiro Vira Vovk (Wira Wowk, autonym Vira-Lydia-Kateryna Selyanska, Wira Selanski). The main feminine characters for comparative analysis are: Inanna-Ishtar, Esther (biblical character and title image of the novel), fictional heroine Aylya. Masculine and feminine characters are taken into account. The archetypal substratum is analyzed as exemplified by mythologems. The polylogue of Vira Vovk’s texts is offered. The material of the analysis encomasses the works by Vira Vovk, the Bible, myths of different nations. The image of Aylya is compared with eternal images, as well as figures of the Ukrainian intellectual women, including allegorically depicted ones in the literature of the 20th century. Comparative, archetypal, textual and other methods are used.

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