scholarly journals The transculturality in the artwork of Josip Osti

2021 ◽  
pp. 311-329
Author(s):  
Aleksandra N. Krasovets ◽  
Keyword(s):  
Native Language ◽  
Literary Critic ◽  
Literary Works ◽  
Artistic Images ◽  
Poetic Work

Josip Osti (1945–2021) was a poet, a novelist, an essayist, a literary critic, a translator and an editor. He also wrote over twenty poetry collections. Born in Sarajevo, since 1990 he lived and worked in Slovenia. After he became a recognized poet in his homeland and one of the most important translators of Slovenian literature into Serbo-Croatian, since 1997 he began to write in Slovenian. Soon after, he receives most prestigious awards in Slovenia. The transcultural aspects of Josip Osti’s literary works, both poetry collections and novels, are in the scope of our attention. The author not only lyrically reflects on his transition from one language to another, what this process was like, what influenced him and found its expression in memorable artistic images, but also assesses his literary bilingualism in his prose texts and interviews. Our analysis of his poetry, especially taking into analysis his haikus, makes it possible to understand the peculiarities of Osti’s poetic work in a non-native language, that is, Slovenian. Another important component of the transculturality of Osti’s work is his comprehension of the spaces of Bosnia and Slovenia and of their unique interconnection.

scholarly journals PANTELEIMON KULISH AS LITERARY CRITIC: PROTECTING THE NATIVE LANGUAGE AND NATIONAL CULTURE

2019 ◽  
pp. 128-133
Author(s):  
Zhanna Yankovska
Keyword(s):  
Literary Criticism ◽  
Research Methods ◽  
National Culture ◽  
Native Language ◽  
Literary Critic ◽  
Social Activist ◽  
National Interests ◽  
Literary Works ◽  
Literary Heritage ◽  
New Research

The figure of Panteleimon Kulish is particularly prominent and influential for Ukrainian culture. But not all his works have not been published yet. Numerous of generations of scholars have studied his literary heritage and research works. These studies have been more and more elaborated with every stage in the Ukrainian humanities’ development due to the application of new research methods. Intersectionality of the writer’s literary and research interests determines the approaches to the study of his copious achievements as an author, poet, historian, translator, folklore researcher, literary critic, publisher, and social activist. Since his literary and research works were first published and up to nowadays, they have been studied by M. Kostomarov, O. Bodianskyi, M .Zerov, V. Petrov, O.Vertii, Ye. Nakhlik, Ya. Harasym, V. Ivashkiv, O. Fedoruk and many other scholars. Nevertheless, his works devoted to literary criticism require more rigorous scrutiny. They have been studied mainly from the perspective of P. Kulish’s evaluation of various works by particular writers. The attention should be drawn to the fact that, in the meantime, he repeatedly emphasized the importance of preserving the Ukrainian language and national culture, its uniqueness and significance. As a matter of fact, the analysis of certain literary criticism studies through this perspective is the main purpose of the article. Having conducted this study, it is necessary to conclude that living under conditions of the imperial censorship, total prohibition of everything related to Ukrainian culture, P. Kulish was always a zealous advocate of the native language, culture and national interests of the Ukrainians. Such views are widely presented in his literary criticism’ works and serve as the basis for the main analyzed material. After all, he proved it by all his life, including his literary works.

‘People and good books make me happy’. Ekaterina Livshits’ letters to Aleksandr Deich and Evgenia Deich-Malkina

2018 ◽  
pp. 298-377
Author(s):  
P. M. Nerle
Keyword(s):  
Literary Critic ◽  
State Archive ◽  
Literary Works ◽  
The Core ◽  
Russian State ◽  
Literary Process

At the core of this publication are letters written by E. Livshits (1902–1987), the widow of B. Livshits, to her close friends: literary critic A. Deich (1893–1972), whom she knew ever since her Kiev days, and his wife E. Deich-Malkina (1919–2014). Kept at the Russian State Archive of Literature and Art, this epistolary collection spans over 20 years, starting from 1967. Along with accounts of private circumstances, each letter contains accounts related to B. Livshits, Osip and Nadezhda Mandelstam, I. Nappelbaum, A. Shadrin, and others. At the same time, E. Livshits’ comments and descriptions of people and literary works are very lifelike and fascinating. On the whole, the reader gets a picture of the period and certain literary process, viewed by a sophisticated connoisseur rather than squinted at by an aging disenfranchised widow of an executed writer. The publication is prefaced by P. Nerler, who collected and prepared the book of letters and reminiscences of E. Livshits, to be printed by Elena Shubina Publishers (AST).

Some Thoughts About Genre in Old Javanese Literature

2021 ◽  
Vol 12 (2) ◽  
Author(s):  
Peter John Worsley
Keyword(s):  
Fourteenth Century ◽  
Thirteenth Century ◽  
Poetic Form ◽  
Literary Works ◽  
Present Essay ◽  
Epic Poem ◽  
The World ◽  
History Of ◽  
Poetic Work

Robson in 1983 and 1988 in his reconsideration of the poetics of kakawin epics and Javanese philology drew readers’ attention to the importance of genre for the history of ancient Javanese literature. Aoyama in his study of the kakawin Sutasoma in 1992, making judicious use of Hans Jauss’s concept of “horizon of expectation”, offered the first systematic discussion of the genre of Old Javanese literary works. The present essay offers a commentary on the terms which mpu Monaguna and mpu Prapañca, authors of the thirteenth century epic kakawin Sumanasāntaka and the fourteenth century Deśawarṇana, themselves, employ to refer to the generic characteristics of their poems. Mpu Monaguna referred to his epic poem as a narrative work (kathā), written in a prakṛt, Old Javanese, and rendered in the poetic form of a kakawin and finally as a ritual act intended to enable the poet to achieve apotheosis with his tutelary deity and his poem to be the means of transforming the world, in particular to ensure the wellbeing of the readers, listeners, copyists and those who possessed copies of his poetic work. Mpu Prapañca described his Deśawarṇana differently. Also written in Old Javanese and in the poetic form of a kakawin—he refers to his work variously as a narrative work (kathā), a chronicle (śakakāla or śakābda), a praise poem (kastawan) and also as a ritual act designed to enable the author in an ecstatic state of rapture (alangö), and filled with the power and omniscience of his tutelary deity, to ensure the continued prosperity of the realm of Majapahit and to secure the rule of his king Rājasanagara. The essay considers each of these literary categories.

Ahmed Morsi

2020 ◽  
Vol 2020 (47) ◽  
pp. 22-43
Author(s):  
Salah M. Hassan
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Critical Appraisal ◽  
Current Practice ◽  
Art Museum ◽  
Creative Expression ◽  
Literary Critic ◽  
Literary Works ◽  
Creative Talent

Born in Alexandria, Egypt, in 1930, Ahmed Morsi is a multitalented artist who seamlessly moves between different genres and modes of creative expression. A brilliant painter, an eloquent poet, and a sharp art and literary critic whose career has spanned more than seven decades, his work has been enriched by the experience of living in three continents. While Morsi’s oeuvre is the embodiment of polyphony, a unifying force that defies any singular reading is the surrealist spirit that permeates his work across different mediums. The retrospective Ahmed Morsi: A Dialogic Imagination, held at the Sharjah Art Museum in 2017, captured the artist’s restless artistic spirit with a display of the intertextuality and multiplicity of voices through which Morsi expresses his creative talent and endless experimentation. This article references the Sharjah show and offers a survey of Morsi’s career, accompanied by a select number of images of his oeuvre from his early days in his native Alexandria to his sojourns in Baghdad and Cairo, and his current practice in New York City, where he has been living since 1974. It also offers a glimpse, in image and in text, of his diverse corpus of literary works, theater set designs, book covers, as well as rare photographs. In tandem with the Sharjah exhibition and the soon-to-be-published catalogue, the author offers a historical assessment and critical appraisal of Morsi’s accomplishments that will enable readers to appreciate the artist’s remarkable endeavors and experimentations over more than six decades of commitment to creativity in art and literature.

The Philosopher's Literary Critic

2016 ◽  
Vol 78 (4) ◽  
pp. 681-684
Author(s):  
John Alvis
Keyword(s):  
Political Philosophy ◽  
King Lear ◽  
Literary Critic ◽  
Human Soul ◽  
Henry V ◽  
Literary Works ◽  
Sequential Development ◽  
Genetic Pattern ◽  
The Republic ◽  
The Individual

Leon Craig's five books are interrelated by a common approach: Craig writes of philosophic matters juxtaposing them with literary works, or one may reverse the order—whichever way, the exegesis proceeds in tandem. Moreover, he has intertwined the books in a sequential development. One can perceive Craig discovered his fountainhead in Plato. His first book, in 1993, The War Lover: A Study of Plato's “Republic,” has left its genetic pattern upon the next four, Of Philosophers and Kings: Political Philosophy in Shakespeare's “Macbeth” and “King Lear” (2001), The Platonian Leviathan (2010), Philosophy and the Puzzles of “Hamlet” (2014), and his latest, The Philosopher's English King: Shakespeare's “Henriad” as Political Philosophy (2015). In this latest effort, Shakespeare is the philosopher and Henry V the best of Shakespeare's English kings. But you will not appreciate the extent and intricacy of Craig's web unless you recognize that Plato's thought, especially as that thought has been conveyed in The Republic, runs through every filament. To be precise, taking such themes of that dialogue as Socrates's notion of a tripartite human soul, his taxonomy of defective regimes, his all but best regime of “Guardians,” and Socrates's ultimately best constitution, rule by a philosopher become king or king become philosopher, or only somewhat less improbably, a king become an understanding student of a counselor philosopher. Then, best self-government within the individual soul is likewise worked out in The Republic as Craig reads it. To my mind he has read Plato aright.

scholarly journals Hibridization, Linguistic and Stylistic Innovation in Cameroonian Literature and Implications for Translation

2019 ◽  
Vol 3 (2) ◽  
pp. p165
Author(s):  
Suh Joseph Che
Keyword(s):  
Driving Force ◽  
Native Language ◽  
Target Language ◽  
Considerable Influence ◽  
European Language ◽  
Literary Works ◽  
European Languages ◽  
African Writer ◽  
African Writers

Drawing from Cameroonian drama written in French and translated into English, this paper demonstrates how Cameroonian literature written in European languages and translated into other European languages is characterized by linguistic and stylistic innovation. It examines the reasons and motivations underlying this phenomenon, first from the perspective of the ambivalent situation of the Cameroonian and African writer writing not in his native language but rather in a European language, and secondly in the light of the prevailing literary creative trend and attitude of Cameroonian and, indeed, African writers in general. In this context, it is argued and posited that Cameroonian literary works are heavily tinted with linguistic and stylistic innovations such that the source texts actually intervene and exert considerable influence on the mode of their translation into the target language, particularly if the translator is to preserve the Cameroonian/African aesthetic which informs them and constitutes their driving force.

scholarly journals Literature and the Remains of the Death Penalty

2018 ◽  
Author(s):  
Peggy Kamuf
Keyword(s):  
United States ◽  
Death Penalty ◽  
Capital Punishment ◽  
The United States ◽  
Main Question ◽  
Poetic Language ◽  
Modern History ◽  
Literary Works ◽  
History Of ◽  
Poetic Work

This book pursues Derrida’s assertion, in The Death Penalty, Volume I, that “the modern history of the institution named literature in Europe over the last three or four centuries is contemporary with and indissociable from a contestation of the death penalty.” The main question this book poses is: How does literature contest the death penalty today, particularly in the United States where it remains the last of its kind, a Christian-inspired death penalty in what professes to be a democracy? What resources do fiction, narrative, and poetic language supply in the age of the remains of the death penalty? These are among the questions that guide the analyses of four literary works, each a depiction or an account of an execution, in the search for deconstructive leverage on the concepts that prop up capital punishment. Different pertinent features are isolated in these texts: the “mysteries” of literary or poetic witness; the publicness of punishment in an era of secrecy around the death penalty; the undecidable difference between death by capital punishment and by suicide—a difference that Kant enforces and that Derrida contests; and even the collapse of the distinction between the sovereign powers to put to death and to pardon, a possibility that is shown up by a poetic work when, performatively, it “plays the law.” In relation to the death penalties they represent, these literary survivals may be seen as the ashes or remains of the phantasm that the death penalty has always been, the phantasm of calculating and thus ending finitude.

The Corrector as Critic

2021 ◽  
pp. 38-52
Author(s):  
Katie Chenoweth
Keyword(s):  
Sixteenth Century ◽  
Literary Criticism ◽  
Close Relationships ◽  
Literary Critic ◽  
Ars Poetica ◽  
Print Shop ◽  
Poetic Work

This chapter proposes that the print shop emerges in the sixteenth century as a key site for the production of literary criticism. Of particular interest is the figure of the printer’s corrector, an expert in error and artisan of precision whose task is to discover and amend faults before a text goes into print. Taking as an exemplary case the French poet, literary critic, and orthographic reformer Jacques Peletier du Mans (1517–1582/3)—who maintained close relationships with his printers and was employed as a corrector in the workshop of Jean de Tournes in Lyon—the chapter examines how the practice of correction and the mechanical ethos of printing inform early meta-poetic work in France, including Peletier’s seminal translation of Horace’s Ars poetica and his own Art Poëtiquɇ of 1555.

Individualization in poetic book review

Neophilology ◽  
2019 ◽  
pp. 357-363
Author(s):  
Elena V. Novozhilova
Keyword(s):  
Forensic Identification ◽  
Literary Critic ◽  
Literary Periodicals ◽  
Poetic Text ◽  
Russian Literary ◽  
Identification Theory ◽  
Artistic Work ◽  
The Individual ◽  
Poetic Work

We present the individual results of a qualitative, comprehensive reviews analysis of collections of poems published in Russian literary periodicals of recent years. We formulate the goal of the reviewer – to attract the reader to his text and through it to the poetic work; the task of the reviewer is to detect and convey to the reader such signs of the author’s style and poetic work (book) as the essence of this style, which make it possible to speak of the author and book as unique, different from all others (“Pushkin is Pushkin”). We emphasize that a literary critic works primarily on the individualization of an artistic work. In this regard, we unfold the analogy of the work of the critic with the work of the forensics analyst on the identification of an unknown ob-ject: as such object (identifiable) serves not yet written content of the review, as an object for comparison (identifying) serves the poetic text. We list the features that are being compared, we indicate that these features are not accidental, but are strictly due to the task of individualization. We sum up that the poems review is not a simple reflection of the poems peculiarities, plus the critic’s subjective attitude towards them; for a deeper understanding of how a literary-critical work is created, it is necessary to borrow a number of concepts from another field of knowledge – the forensic identification theory.

scholarly journals AN EMPIRICAL STUDY ON THE USE OF FOUR IMAGERY THINKING ACTIVITIES IN NOVEL TRANSLATION

2021 ◽  
Author(s):  
QIN YANG
Keyword(s):  
Empirical Study ◽  
Vital Role ◽  
Literary Translation ◽  
Translation Process ◽  
Literary Works ◽  
Original Works ◽  
Artistic Images ◽  
Cross Lingual

Abstract. Both literary translation and creation use language to shape artistic images, and artistic images are the crystallization of artistic thinking. Translation is not only cross-lingual transfer, but also conversion of thought. In novel translation, the translator's image thinking plays a vital role because of the characteristics of literary works. By the translation of Charles Frazier’s novel Nightwoods as an example, this paper illustrates how to make full use of four activities of imagery thinking (perception, association and imagination, emotion and harmony) during the translation process. By using of imagery thinking, the translation shows the charm and beauty of original works, and achieves images reproduction of novel character.

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