scholarly journals STYLISTIC DOMINANTS OF OKSANA KERCH’S NOVEL «NARECHENY»

2020 ◽  
pp. 89-92
Author(s):  
I. PRIYMAK ◽  
Keyword(s):  
National Identity ◽  
Literary Criticism ◽  
Interwar Period ◽  
Native People ◽  
The Novel ◽  
National Liberation Movement ◽  
Literary Process ◽  
Long Time ◽  
Artistic Heritage ◽  
Comprehensive Study

The article examines the work of Oksana Kerch – a representative of the literary process of the interwar period in Halychyna. Her work is considered in relation to the general artistic trends of the day, in particular in terms of stylistic features of the writer’s prose. For a long time, her work, removed from the cultural process, was on the margins of literary criticism. Although Oksana Kerch’s prose is unknown to the general public, her artistic heritage is original and distinctive. At one time, the writer’s works were published on the pages of well-known periodicals, such as “Women’s Fate”, “Nova hata”, “Ukrainian News”, and were published in separate prints. The return of the artistic figure of Oksana Kerch to the all-Ukrainian literary process necessitated a comprehensive study of her creative heritage. In particular, it is important to consider the genre and style specifics of the writer’s novels. The novel “The Groom” is bright and original in the writer’s artistic work. In this novel the author recreates the dramatic events of the interwar decades in Halychyna. A notable feature of the work is autobiography – the writer herself witnessed those turbulent events of the struggle of Ukrainian patriotic youth for their national identity. The novel consists of twenty-one stories. The four main characters take turns telling about the life of military and interwar Lviv and its inhabitants. On the printed pages, the author created a unique figurative world that reflected the conflicts of the era. In the novel, Oksana Kerch recreates the environment in which the ideas of the national liberation movement are born, and through the perception of her own national identity, she models neo-romantic ideals on her way to serve the native people. The neo-romantic concept is vividly embodied in the pages of the work. Here the author continues the tradition that has developed in Ukrainian neo-romanticism – the dominance of the theme of Ukraine, the struggle for its independence.

scholarly journals Periferni likovi u romanu U registraturi Ante Kovačića

2021 ◽  
pp. 272-285
Author(s):  
Marijana Terić
Keyword(s):  
Social Order ◽  
The Novel ◽  
Fantasy Literature ◽  
City Life ◽  
The Social ◽  
Literary Process ◽  
Long Time ◽  
Fantastic Realism ◽  
The Village ◽  
The City

In this paper, the author examines a work of one of the most significant Croatian literary writers, Ante Kovačić, whose novel U registraturi (In the Registry Office) is considered by many literary critics and theoreticians to be the best writing of Croatian realism. It is an author who was not understood at the time when his work appeared, which is why the text was published in the form of a novel with a twenty-three year delay. Nonlinear composition of the text, elements of fantasy literature and innovative literary process in creating a fabula and sujet course of events confused literary critics as well as readership, which points to the fact that Ante Kovačić was treated for a long time as a peripheral author. In this narrative text, the misery and helplessness of peasants and their revolt against their feudal lords in Croatia are described, therefore the object of our analysis will be the characterisation of figures from various layers of society, with a particular focus on the “peripheral characters” of Kovačić’s prose. Using the term “peripheral characters” we will attempt to bring close those characters of subjugated peasants in relation to the feudal-capitalist social layer and thereby emphasise their role in the novel in relation to their fate. Unlike the characters of the peasants – Ivica Kičmanović (whom the social order turns into a lackey and scoundrel); Jožica Zgubidan (the personification of a poor person from Zagorje), Anica (a patriarchal girl with an angelic face); Miha; Perica; the neighbouring Kanoniks; and the Medonjićes – Kovačić brings us harsh, drastic images of moral vacillations in the city in which figures, distorted into caricatures, dominate. By contrasting the rural environment with the city life, the author is writing an “epopee of the village and city” in which the “peripheral characters” become tragic ones. These characters are the carriers of elements of “fantastic realism,” and their function is to show all the depravities of society and to announce the phenomenon of the innovative processes of narration familiar to authors of the modern literature. Finally, we come to the conclusion that Ante Kovačić made a step forward in relation to the generation of realists, with the peripheral position of his creation disappearing with the emergence of modern literary achievements, which ultimately gives the author and his work a polished place in Croatian literature.

MULTICULTURALISM BY CONRAD-EMIGRANT

2019 ◽  
pp. 376-380
Author(s):  
Olena Tkachuk
Keyword(s):  
Cultural Identity ◽  
Literary Criticism ◽  
Joseph Conrad ◽  
English Literature ◽  
Multicultural Literature ◽  
Post Colonial ◽  
Literary Process ◽  
Long Time ◽  
English Society ◽  
Almost All

The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.

scholarly journals Το νεοελληνικό διήγημα την περίοδο του μεσοπολέμου (1918-1940)

2014 ◽  
Author(s):  
Αθηνά Κορούλη
Keyword(s):  
Literary Criticism ◽  
Interwar Period ◽  
Short Story ◽  
The Novel ◽  
Literary Canon ◽  
Critical Approach ◽  
Literary Works ◽  
Modern Greek ◽  
Critical Commentary ◽  
The Impact

The shift of the short story from the center to the periphery of the Modern Greek literary canon is part of the complex literary and cultural revisions that occurred in Greece during the Interwar years. The thesis, based on the theoretical, historical and critical approach of the study material (literary works, critical essays, articles and literary reviews), explores the following issues: the context of the “short story - novel” juxtaposition, the problems and the intentions that were related to the hierarchical downgrading of the short story, the critical opinions on short story poetics, the impact that the broader intellectual and literary pursuits of the period had on the Greek short story, those features that the literary criticism of the period perceived and commented on as a manifestation of change in the field of the Greek short story; furthermore, literary works that follow the directions recognized as signs of the renewal of the genre poetics are examined. With regard to the last issue, it should be noted that in parallel with the recurrent severe criticism of the short story and the turn towards the novel, there were signs that the Modern Greek short story of the Interwar period had also made a turn whose direction can be detected through a new critical commentary that was being frequently repeated, describing features of an interesting thematic and formal renewal that was recognized as the “new impetus” of the genre.

Expressive Features of Author Subjectivity in the Literary Ego-Text (Roman Senchin’s What Do You Want?)

2021 ◽  
pp. 23-39
Author(s):  
Olga Yu. Shum ◽  
Keyword(s):  
Literary Criticism ◽  
Time Frame ◽  
The Novel ◽  
The Real ◽  
Political Commentary ◽  
Wide Range ◽  
Literary Process ◽  
Family Chronicle ◽  
The One ◽  
Almost All

The modern literary process indicates the presence of a large number of fiction with documentary subcurrent: facts from the author’s biography are a very slight hyperbolization. An example of such work would be the novel What Do You Want? (2013) by a contemporary Russian writer Roman Senchin, which became the subject of consideration in this article. The synthesis of auto-documentary and literary principles in the story organizes self-narration with unsteady boundaries between the real (“factual”) and the fictional (“fictitious”). The specificity of the correlation of the factual and the fictitious is examined in this work using the method of literary criticism and contextual analysis. The immediate aim of the article is to identify the specificity of expressing the implicit method of author subjectivity in non-fiction. In the author’s opinion, the implicit way of expressing the reflective type of author subjectivity fits more harmoniously into the literary fabric of the work, enriching it with subtexts and hidden meanings. In the course of the study it has been determined that although the center of the story revolves around the everyday life of an ordinary Moscow family, Senchin’s work is not a slice-of-life novel, but a political commentary. The theme of What Do You Want?” is sociopolitical, the problematics are sociocultural. The narration of the novel undergoes an intense analyzing and coming to terms with the sociopolitical events that are highlighted in almost all of the scenes. The text implies that the writer comprehends his own political position and interprets its cause-effect relationships. In order to distance himself as much as possible from his own identity, Senchin uses the technique of “externalizing” and “assigns” the role of the narrator to a teenage girl Dasha, the prototype of which he himself cannot be. Dasha, being a narrator-observer, asks questions, including the one from the title, to herself and other characters, including the father “Roman Senchin”. The time frame for the narration is precisely established: 18 December 2011 – 26 February 2012; each part of the text is a certain day, there are six in total. However, it is not clear who marked the specific days – the real author of the story or, as he conceived, the narrator Dasha. The autofiction method of “externalizing” in combination with the factual plot allows considering What Do You Want? as an ego-text, which in its genre form is something between an excerpt from a family chronicle and a diary. Autofiction in the form of an ego-text allows the writer to implicate his reflection, organizing a space for discussion of the unquestioning “Roman Senchin” (his alter ego) and the doubting Dasha within a kind of a “mental diary” – a space of consciousness in which the author-subject and the narrator are united. “Bringing to light” this “mental” diary, the writer redirects it to a wide range of readers and thus shifts the story from the field of “literature without fiction” to the sphere of art

scholarly journals READING ‘THE NEWCOMES’ IN DIFFERENT WAYS: LITERARY AND CRITICAL ‘DUEL’ OF CHERNYSHEVSKY AND DRUZHININ

2021 ◽  
Vol 13 (3) ◽  
pp. 101-111
Author(s):  
Boris M. Proskurnin ◽  
Keyword(s):  
Literary Criticism ◽  
19Th Century ◽  
English Literature ◽  
The Novel ◽  
Important Place ◽  
Vanity Fair ◽  
Russian Literary ◽  
Literary Process ◽  
Art For Art's Sake ◽  
The 19Th Century

The essay deals with the issues of reception of English literature by Russian literary criticism; it analyzes polemically pointed evaluations of The Newcomes (1853–1855) by two leading Russian critics of the 1850s – 1860s – Nikolay Chernyshevsky and Alexander Druzhinin. To look at their reviews of the novel is worthwhile as it leads to a better understanding of both Russian literary process of the period and Russian reception of English literature in the middle of the 19th century. While examining these reviews, it is necessary to remember that this novel occupies quite an important place in the creative work of Thackeray and has many peculiarities at such levels of its structure as genre, plot, narrative, character-making, irony. The novel belongs to the after Vanity Fair period of Thackeray’s oeuvre with its own aesthetics which just in The Newcomes gets its final look. The novel pictures the life of the English upper classes with the help of chronicle and panoramic methods of plot-making; direct satire, keenest irony and invective do not work here as they work in Vanity Fair. It is precisely this ‘otherness’ of The Newcomes, in comparison with the most famous novel by Thackeray, that becomes the matter of the opposite estimates of this novel by two Russian critics: at one extreme, Chernyshevsky who, though noting some strong plot-making and narrative positions in the novel, criticizes the writer for poor conceptuality of the novel, the petty themes raised, the hero’s unimpressiveness, procrastination and slowness of the narrative; at the other extreme, the benevolent view of Druzhi­nin who reveals some important facets of the novel’s artistic originality. He does not assess the novel from the ideological positions which are, in many respects, the products of the first Russian ‘thaw’ after the period of political reaction of the regime of Nicholas I and which determine the position of Chernyshevsky. Since Druzhinin had been taken by Chernyshevsky as his ideological rival and the founder of ‘art for art’s sake’ conception, his review was a severe polemical answer to Druzhinin’s review published earlier. That is one of the main reasons why such a profound literary critic as Chernyshevsky did not notice or did not want to notice many merits of The Newcomes which are stressed in the essay. It is shown in the essay that, while wri­ting his review of The Newcomes, Chernyshevsky was thinking more about Russian literary situation than Thackeray’s novel itself and the literary process in England in the middle of the 19th century.

IMMIGRATION PROBLEMATICS IN THE NARRATIVE DISCOURSE OF JOSEF IGNACY KRASZEWSKI

2019 ◽  
pp. 56-61
Author(s):  
Svitlana Baidatska
Keyword(s):  
Literary Criticism ◽  
Large Scale ◽  
Narrative Discourse ◽  
Creative Work ◽  
The Novel ◽  
Political Issues ◽  
Intricate Mechanism ◽  
Intellectual Leader ◽  
High Degree ◽  
Artistic Heritage

The article devotes to the immigration problematics in the creative work of Józef Ignacy Kraszewski – the leading spiritual and intellectual leader of Polish immigration after the January uprising. The contribution of a writer to the development of the cultural life of the Polish immigration of the 19-th century in the field of fiction, literary criticism, journalism, publishing and public activities were characterized as the theme of the January uprising determined the direction and problematics of the journalistic and public activities of the writer of the Dresden period of life and work. Peculiarities of creative rethinking of consequences of the Polish Insurrection of 1863 in the large-scale artistic heritage of Josef Ignacy Kraszewski, in particular, in the cycle of novels on political issues that were published under the pseudonym Bogdan Boleslavit “The Child of the Old City” (1863), “We and They” (1865), “Moscal” (1865), “The Jew” (1866), “Travelers “(1968-1970),” In a Strange Land “(1871). In the Dresden period the creativity of Josef Ignacy Kraszewski acquired new features – profound analytic and critical judiciousness of judgements. It should be noted the richness of the problematics and genre variety of the creative work of Kraszewski in this period. The novel “In a Strange Land” contains abundance of social realities, emotional images of conflicts and characters of the work. The narrative strategy of the novel is determined by the emotionality, sensuality and high degree of the presence of the narrator in the work through the indirect representation of his personal feelings, ideas and the declaration of a personal social position On the material of the novel “In a Strange Land” the motive of expulsion, martyrdom, involuntary journey, travel-escape is analyzed both in the literature of the mentioned period and in the narrative discourse of Josef Ignacy Kraszewski. The writer demonstrates the intersection of Polish and foreign culture from his own position of emigrant. The article analyzes the intricate mechanism of saving national identity in such political situation after January uprising

scholarly journals Writers and figures of theater between ‘Ukrainian People’s Republic’ and ‘Directory’

2020 ◽  
pp. 19-31
Author(s):  
Olesia Omelchuk
Keyword(s):  
Traumatic Memory ◽  
Artistic Development ◽  
Daily Newspaper ◽  
Artistic Activity ◽  
Literary Process ◽  
Long Time ◽  
Cultural Dialogue ◽  
The Military ◽  
Artistic Heritage ◽  
Creative Life

Studying the artistic heritage and creative life in 1917—1919 significantly complements the biographies of many Ukrainian writers and influences the usual perceptions of the Ukrainian literary process overall. Against the backdrop of this period, the proletarian cultural conception no longer seems to be all-inclusive. After all, a great number of ideas, themes, and creative pursuits of 1917—1919 became a prologue to the cultural dialogue of the following years, being at the same time rooted in pre-revolutionary artistic development. For the Soviet political and cultural memory the establishment of Ukrainian statehood in 1917—1919 becomes a traumatic memory for a long time. As the present paper shows, the process over the Union of Liberation of Ukraine (SVU) in 1929—1930 was a perversion of the solemn action in honor of the short-lived triumph of the Directory of the Ukrainian People’s Republic in 1918, and in general became the quintessence of the political and symbolic delegitimization of the ‘Petliurian’ and ‘Hetmanian’ history. Despite the difficult political situation, 1918 was marked not only by vibrant creative life, but also by the daily attempts to normalize the course of artistic activity in accordance with legal laws and commercial logic. As an example, the author of the paper reconstructs some aspects of the theatrical and literary life of 1918, which were covered on the pages of the Kyiv daily newspaper “Vidrodzhennia” and also such periodicals as “Robitnycha Hazeta”, “Nova Rada”, “Narodna Volia”, etc. The paper focuses on the publications by Yakiv Savchenko, Les Kurbas, Mykhail Semenko and public polemics between representatives of “Molodyi Teatr”, “Teatralna Rada”, and the Military Society “Batkivshchyna”.

Göçmen edebiyatında din ve kimlik yansımaları -Fakir Baykurt’un Yarım Ekmek Romanında Din ve Gelenek-

2015 ◽  
Vol 2 (1) ◽  
pp. 117-145
Author(s):  
İsmail Güllü
Keyword(s):  
The Political ◽  
The Novel ◽  
Cultural Shock ◽  
Turkish Literature ◽  
Socialist Realist ◽  
Long Time ◽  
Societal Structure ◽  
Immigrant Religion ◽  
Turks In Germany ◽  
The City

Yarım aşırı aşan bir geçmişe sahip Almanya’ya göç olgusu beraberinde önemli bir edebi birikimi (Migrantenliteratur) de getirmiştir. Farklı adlandırmalar ile anılan bu edebi birikim, kendi içinde de farklı renkleri de barındıran bir özelliğe sahiptir. Edebi yazını besleyen en önemli kaynaklardan biri toplumdur. Yazarın içinde yaşadığı toplumsal yapı ve problemler üstü kapalı veya açık bir şekilde onun yazılarına yansımaktadır. Bu bağlamda araştırma, 50’li yaşlarında Almanya’ya giden ve ömrünün sonuna kadar orada yaşayan, birçok edebi ve düşünsel çalışması ile Türk edebiyatında önemli bir isim olan Fakir Baykurt’un “Koca Ren” ve Yüksek Fırınlar” adlı romanları ile birlikte Duisburg Üçlemesi’nin son kitabı olan “Yarım Ekmek” romanında ele aldığı konu ve roman kahramanları üzerinden din ve gelenek olgusu sosyolojik bir yaklaşımla ele alınmaktadır. Toplumcu-gerçekçi çizgide yer alan yazarın, uzun yıllar yaşadığı Türkiye’deki siyasi ve ideolojik geçmişi bu romanda kullandığı dil ve kurguladığı kahramanlarda kendini göstermektedir. Romanda Almanya’nın Duisburg şehrinde yaşayan Türklerin yeni kültürel ortamda yaşadıkları çatışma, kültürel şok, arada kalmışlık, iki kültürlülük temaları ön plandadır. Yazar romanda sadece Almanya’daki Türkleri ele almamakta, aynı zamanda Türkiye ile hatta başka ülkeler ile de ilişkilendirmeler yaparak bireysel ve toplumsal konuları ele almaktadır. Araştırmada, romanda yer alan dini ve geleneksel unsurlar sosyolojik olarak analiz edilmiştir. Genel anlamda bir göç romanı olma özelliği yanında Yarım Ekmek romanında dini, siyasi ve ideolojik birçok yorum ve tartışma söz konusudur. Romandaki bu veriler, inanç, ritüel, siyaset ve toplumsal boyutlarda kategorize edilerek ele alınmıştır.  ENGLISH ABSTRACTReligion and identity reflections in literature of immigrant: Religion and Tradition in Fakir Baykurt’s novel Yarım EkmekThe immigration fact which has nearly half century in Germany have brought a significant literal accumulation (Migrantenliteratur) in its wake. This literal accumulation, which is named as several denominations, has a feature including different colours in itself. One of the most important source snourishing literature is society. Societal structure and problems that the writer lives inside, directly or indirectly reflect on his/her compositions. In this context, the matter of religion and tradition by way of the issue and fictious characters in the novel of Fakir Baykurt who went to Germany in her 50’s and lived in there till his death and who is a considerable name in Turkish literature with his several literal and intellectual workings; “Yarım Ekmek” which is the third novel of Duisburg Trilogy with “Koca Ren” and “Yüksek Fırınlar” are discussed sociologically in the study. The political and ideological past of the socialist realist lined writer in Turkey where he spent his life for a long time, manifest itself on the speech and fictious characters of novel. In the novel, themes of new Turks’ conflict, cultural shock, being in the middle, bi culturalism in their new cultural nature in Duisburg which is the city they live in. The writer not only deals with Turks in Germany but also personal and social subjects via comparing them to Turkey and even other countries. In the study, religious and traditional elements analyzed sociologically. Besides the speciality of being a migration novel in general, there are a lot of religious, political and ideological interpretations and discussions in the novel. These datum in the novel are examinated in the context of belief, ritual, politics and social categorisation. 

The problem of language identity in Volodymyr Vynnychenko’s novel I want! in contemporary sociocultural context

2020 ◽  
Vol 2019 (2 (11)) ◽  
pp. 211-227
Author(s):  
Ekaterina V. Baydalova ◽  
Keyword(s):  
National Identity ◽  
Russian Literature ◽  
The Novel ◽  
Sociocultural Context ◽  
Main Character ◽  
Life Goal ◽  
Language Identity ◽  
National Question ◽  
In The Beginning ◽  
Ukrainian Society

The novel by Volodymyr Vynnychenko I want! (1915) was, on one hand, his literary answer to the discussion on the national question in Ukrainian society, and, on the other, it was his reaction to the accusations of him being a renegade resulting from his shift towards Russian literature. In 1907-1908, after the publication of his dramas and novels which were impregnated with the idea of “being honest with oneself” (it implied that all thoughts, feelings, and acts were to be in harmony), his works could be more easily published in Russian than in Ukrainian. This situation was taken by his compatriots as a betrayal against his native language and the national cause. In the novel I want! the problem of language identity is directly linked with national identity. In the beginning of the novel the main character, poet Andrey Halepa, despite being ethnic Ukrainian, spoke, thought, and wrote poems in Russian, and consequently his personality was ruined and his actions lacked motivation. It seems that after his unsuccessful suicide attempt and under the influence of a “conscious” Ukrainian, Halepa got in touch with his national identity and developed a life goal (the “revival” of the Ukrainian nation and the building of a free-labour enterprise). However, in the novel, national identity turns out to be incomplete without language identity. Halepa spoke Ukrainian with mistakes, had difficulty choosing suitable words, and discovered with surprise the meaning of some Ukrainian words from his former Russian friends. The open finale emphasises the irony of the discourse around a fast national “revival” without struggle and effort, and which only required someone’s will.

„Arvīd, uz kurieni Tu aizgāji?”: Arvīda Griguļa personības loma Rakstnieku savienības vēsturē

2020 ◽  
pp. 74-84
Author(s):  
Madara Eversone
Keyword(s):  
20Th Century ◽  
Communist Party ◽  
Central Committee ◽  
State Archive ◽  
National Archives ◽  
Literary Heritage ◽  
Literary Process ◽  
Long Time ◽  
The Impact

The article aims to highlight the role of Arvīds Grigulis’ (1906–1989) personality in the Latvian Soviet literary process in the context of the Latvian Soviet Writers’ Union, attempting to discover the contradictions and significance of Arvīds Grigulis’ personality. Arvīds Grigulis was a long-time member of the Writers’ Union, a member of the Soviet nomenklatura, and an authority of the soviet literary process. His evaluations of pre-soviet literary heritage and writings of his contemporaries were often harsh and ruthless, and also influenced the development of the further literary process. The article is based on the documents of the Central Committee of the Latvian Communist Party, the Latvian Soviet Writers’ Union and the Communist Party local organization of the Latvian Soviet Writers’ Union that are available at the Latvian State Archive of the National Archives of Latvia, as well as memories of Grigulis’ contemporaries. It is concluded that the personality of the writer Arvīds Grigulis, although unfolding less in the context of the Writers’ Union, is essential for the exploration of the soviet literary process and events behind the scenes. The article mainly describes events and episodes taking place until 1965, when Arvīds Grigulis’ influence in the Writers’ Union was more remarkable. Individual and further studies should analyse changes and the impact of his decisions in the cultural process of the 70s and 80s of the 20th century.

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