scholarly journals CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY

2021 ◽  
pp. 13-19
Author(s):  
K. NIKOLENKO ◽  
O. NIKOLENKO
Keyword(s):  
20Th Century ◽  
Salient Feature ◽  
Educational Background ◽  
Julia Kristeva ◽  
Literary Works ◽  
Historical Factors ◽  
Literary Meaning ◽  
Postmodern Art ◽  
Artistic Styles ◽  
Death Of The Author

The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.

scholarly journals Place matters: geographical context, place belonging and the production of locality in Mediterranean Noirs

GeoJournal ◽  
2021 ◽  
Author(s):  
Nicola Gabellieri
Keyword(s):  
20Th Century ◽  
Crime Fiction ◽  
The Novel ◽  
Late 20Th Century ◽  
Literary Works ◽  
Geographical Discourse ◽  
Detective Stories ◽  
Narrative Medium ◽  
Geographical Context

AbstractScholars have been investigating detective stories and crime fiction mostly as literary works reflecting the societies that produced them and the movement from modernism to postmodernism. However, these genres have generally been neglected by literary geographers. In the attempt to fill such an epistemological vacuum, this paper examines and compare the function and importance of geography in both classic and late 20th century detective stories. Arthur Conan Doyle’s and Agatha Christie’s detective stories are compared to Mediterranean noir books by Manuel Montalbán, Andrea Camilleri and Jean Claude Izzo. While space is shown to be at the center of the investigations in the former two authors, the latter rather focus on place, that is space invested by the authors with meaning and feelings of identity and belonging. From this perspective, the article argues that detective investigations have become a narrative medium allowing the readership to explore the writer’s representation/construction of his own territorial context, or place-setting, which functions as a co-protagonist of the novel. In conclusion, the paper suggests that the emerging role of place in some of the later popular crime fiction can be interpreted as the result of writer’s sentiment of belonging and, according to Appadurai’s theory, as a literary and geographical discourse aimed at the production of locality.

THE HERALD OF SPRING. IMAGE OF ARMENIAN HERO IN THE POEM OF AHMAD SHAMLU "VARTAN

2021 ◽  
pp. 240-250
Author(s):  
Lilit Safrastyan
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Social Activities ◽  
Love Poetry ◽  
Literary Works ◽  
Metaphorical Language ◽  
Special Place ◽  
Creative Life

THE HERALD OF SPRING. IMAGE OF ARMENIAN HERO IN THE POEM OF AHMAD SHAMLU "VARTAN" Ahmad Shamlou is one of the most prominent representatives of the Iranian literature of the 20th century, who stood at the roots of the anti-dictatorship struggle, carrying out creative and social activities. Shamlu's unbreakable revolutionary spirit, love for the homeland and a human being have found their vivid expression in his works. In the very first period of his career, Shamlu was persecuted and imprisoned many times as a dissident. Many of his works, including translations, literary works, were censored and burned in printing houses. Armenians have a special place in Shamlu's personal and creative life. The main heroine of Shamlu's inspiration was his wife Aida Sargsyan, to whom he dedicated the most beautiful poems of modern Iranian love poetry. Armenian revolutionary hero Vartan Salakhanyan's character was also immortalized by the poet in the famous poem "Vardan" or "Nazli's death". In this poem Ahmad Shamlu depicts the heroic feats of the Armenian hero in metaphorical language, calling him "The Herald of Spring".

scholarly journals The Theory of Frame in Rejecting the Rejectionists’ Position on the Armenian Genocide

2015 ◽  
Vol 11 (1 (13)) ◽  
pp. 167-179
Author(s):  
Seda Gasparyan
Keyword(s):  
Present Article ◽  
20Th Century ◽  
Cognitive Linguistics ◽  
Armenian Genocide ◽  
Literary Works ◽  
Reliable Instrument

The focus of the present article is the fabricated nature of some rejectionists’ interpretations of the Armenian Genocide brought out by the theory of frame – a reliable instrument widely applicable in cognitive linguistics. Referring to the information accumulated and stored in the memory of humanity and actually reflected in different dictionaries, literary works, official correspondence and documents, the author draws the readers’ attention to the background significance of the concepts Armenian and Turk in the cognizance and evaluation of the genocidal events in Western Armenia at the beginning of the 20th century.

scholarly journals A filológiai tudás mint határtapasztalat

2018 ◽  
Vol 57 (1-2) ◽  
Author(s):  
László Bengi
Keyword(s):  
Short Stories ◽  
20Th Century ◽  
Literary Works ◽  
Short Period ◽  
Publication Practices

Publication practices during the early decades of the 20th century had a significant impact on the approach to literary works for both writers and readers. The majority of authors, including Kosztolányi, published the same work several times in different papers. The genealogy of texts is pervaded by the effects of contingency and unintentionality due to the lack of authorial, and sometimes editorial, control in the extensive and variable dissemination of works. Nevertheless, since the interaction of variants and their contexts can be conceived of as a mutual process, the mentioned publication practices also give rise to the possibility that a textual frame can be built around a work by re-publishing connected writings of the author’s oeuvre in the same paper within a short period. As an example, i show how Kosztolányi compiled an almost invisible series of short stories about death and suicide around the publication of one of his novels in the middle of the 1920s.

Sectarianism in Iraq – a critique by Ali Al-Wardi

2014 ◽  
Vol 7 (4) ◽  
pp. 510-525 ◽  
Author(s):  
Fouad Jabir Kadhem al-Zurfi
Keyword(s):  
20Th Century ◽  
Historical Development ◽  
Arab World ◽  
Social Phenomena ◽  
Historical Factors ◽  
Number Of Factors ◽  
History Of ◽  
Sociological Thought ◽  
Two Phases ◽  
The Impact

The Arab world today is encountering a destructive resurgence of sectarianism, which, up to a few years ago, had been confined to books and rhetorical debates. In the first half of the 20th century, Iraqi sociologist Ali Al-Wardi pioneered the critique of sectarianism in the Arab world. Unlike others, he approached the issue from a specific and unique perspective. His observations of Iraqi history were made from a sociological standpoint that aimed at revealing the impact of sectarianism on Iraqi politics. Al-Wardi's writings were carried out to two phases: the first extends from the early 1950s to the early 1960s; and the second covers the period between the publication of his two books, Study on the Nature of Iraqi Society (the year of publication is unknown) and Social Briefs from the Modern History of Iraq (1971). The first phase focused on Islam's heritage and a number of social phenomena; the second focused exclusively on the study of Iraqi society. A number of factors influenced Al-Wardi's personality and thinking, a fact especially evident in the kind of methodology he used, which was new when addressing the sectarian issue. Based on Al-Wardi's research, this paper traces the historical factors and process that affected the historical development of the divisions separating two main sects of Islam – Shi'a and Sunni – resulting in a duel between them, which led to the configuration of Iraqi society along sectarian lines. It elaborates on the methodology used by Al-Wardi in his studies of Iraqi society, as well as his attitude with regard to sectarianism in modern Iraq. It also explores the intellectual and political influences that helped shape his thinking in this domain and its legacy on sociological thought in the Arab world.

LATGALIAN JOKES: EXPRESSIONS OF LINGUISTIC CONTACTS

Via Latgalica ◽  
2012 ◽  
pp. 25
Author(s):  
Antra Kļavinska
Keyword(s):  
Intercultural Communication ◽  
20Th Century ◽  
Speech Act ◽  
Language Skills ◽  
Theoretical Background ◽  
Communication Process ◽  
Territorial Identity ◽  
Historical Factors ◽  
Linguistic Interference ◽  
The Impact

<p>The research interest of the author of the article in the ethnosis living in Latgale, intercultural communication is related to the compilation of the entries for „Latgalian Linguo-Territorial Dictionary” with ESF project „Linguo-Cultural and Socio-Economic Aspects of Territorial Identity in the Development of the Region of Latgale” (Nr. 2009/0227/1DP/1.1.1.2.0/09/APIA/VIAA/071). The tasks of this research: 1) to prepare a review about the frequency of linguistic contacts and themes for conversations in jokes; 2) to determine the linguistic attitude of the addressee and the sender; 3) to trace linguistic processes in the event of intercultural communication.</p><p>The theoretical background of the research is based on the speech act in theory (J. Searle), highlighting the impact of social and historical factors on the speech act (D. Hymes). In order to describe the results of linguistic contacts linguistic, social and historical factors shall be taken into consideration. Jokes (131 unit in total) have been selected according to the following components of the speech act: form of message – dialogue; sender and addressee – Latvians and non-ethnic Latvians (Russians, Poles, Jews, Gypsies, etc.) of Latgale and representatives of other regions; communication channel – oral and written communication; code – patois, dialect, language; theme – daily life, culture, religion, politics etc.; situation – Latgale of 20th century (episodically – Latvia, Russia, Germany, USA, Lithuania).</p><p>The analysis of the expressions of language contacts in the texts of jokes lets conclude how intensive the mutual contacts of various languages and their users were in Latgale in the 20th century: if in the first half of the century the linguistic contacts were extremely diverse (interaction of Latgalian Latvians, Russians, Jews, Gypsies, Polish), then in the second half of the century mostly the linguistic contacts of Latvian (Latgalian) and Russian speaking population were domineering under the impact of the russification policy.</p><p>The result of linguistic contacts are: 1) a tolerant attitude towards other languages and their users is typical for a Latgalian (character of jokes), but he/she has a negative position to an strange language (Latvian, Russian) as an expression of enforced power; 2) in the communication process one can observe intentional of code-switching and unintentional of code-mixing (basis of the comic: interlinguistic homonyms, homoforms); 3) linguistic interference: phonetic, lexical and grammatical borrowings (from Latvian, Russian, English); 4) foreign language skills (in the beginning of 20th century the modest foreigner language skills led to more frequent misunderstandings).</p><p>The achievement of the aim put forward, result is a significant component of the speech act. The analyzed material of jokes proves that in many communicative situations this aim is not reached due to the weak communicative competence of the addressee and addresser (lack of awareness, understanding and recognition of the linguistic and cultural features of the representative of another ethos). Therefore, a conversation takes place, but an intercultural dialogue is not formed. Under current complex economic, political and linguistic situation in Latvia these are significant reasons for splitting of the society.</p>

scholarly journals Atmosphere of societal anxiety and representations of the body: The image of man in surrealist works of Vítězslav Nezval in the 20th century interwar period in Bohemia

2018 ◽  
Vol 9 (1) ◽  
pp. 181-189
Author(s):  
Anna Maria Brzezińska
Keyword(s):  
20Th Century ◽  
Interwar Period ◽  
Flat Surface ◽  
Lyric Poetry ◽  
The Body ◽  
Phenomenological Method ◽  
Time And Space ◽  
Literary Works ◽  
Clear Tendency ◽  
Surrealist Poetry

Aim: The interwar period in Czechoslovakia was a time of societal anxiety. The aim of this paper is to find the central themes of societal fear, as reflected in the surrealist works of Vítězslav Nezval, a czech poet. The analysis will be based primarily on the lyric poetry from the collections: Žena v množném čísle [Woman in Plural] (1936) and Absolutní hrobař [Absolute Gravedigger] (1937). Methods: The analysis is based on the Josef Vojdovík’s anthropo-phenomenological method of exploring the surrealist perceptions of the body, which is based on vertical and horizontal anthropological dimensions and phenomenological conceptions of fears. Results: Surrealist poetry and other literary works contain images of the body that are changed by fear: deformations, metamorphoses, fragmentarisations, hybridisations, expressing the body as a collage, a mosaic, an amalgam, a phantom, a grotesque, an inlay, and as lifelessness. It undergoes multiple metamorphoses, not only within its own form, but also with regard to the categories of life and lifelessness. Conclusions: The analysis leads to the conclusion, that V. Nezval’s works show a clear tendency to portray the body as an object which undergoes a metamorphosis. The body is balanced on the edge between living and dead, organic and inorganic, it is determined by time and space. It is often shown along the narrowing-widening relation, in stupor, petrification, reduced to a flat surface or miniaturised.

scholarly journals KEMBALINYA SURGA FIRDAUS: MENILIK KEMERDEKAAN INDONESIA MELALUI PANDANGAN ‘ALI AḤMAD BĀKATHĪR DALAM DRAMA ’AUDAT AL-FIRDAUS

2017 ◽  
Vol 2 (2) ◽  
pp. 159
Author(s):  
Mohammad Rokib
Keyword(s):  
20Th Century ◽  
Arabic Literature ◽  
Literary Works ◽  
Islamic World ◽  
Islamic Values ◽  
Islamic Literature

Ali Ahmad Bākathīr was a prolific Arab playwright, novelist and poet of the 20th Century. He wrote almost fifty literary works and more than thirty plays in Arabic which developed Islamic character in Arabic literature. His works sought to establish Islamic values and traditions that occurred in Islamic societies. Although his works contributed immensely to the Arabic and Islamic literature, Bākathīr has received lack of attention from scholars both in Islamic world and in non-Islamic world. This paper explores the Muslim effort in acquiring national independence on the literary works of Bākathīr, particularly on the concept of nationalism. In the process of acquiring national independence, Indonesia’s figures usually utilized the paradigm of nationalism through words of dialog. The words of figure that referred to nationalism will be discussed. In this paper, we argue that Bākathīr literary work’s ’Audat al-Firdaus contains the spirit of nationalism for gaining independence.      

scholarly journals THE BIBLE WORDS IN YESENIN’S POEMS OF THE REVOLUTIONARY PERIOD

2019 ◽  
pp. 184-196
Author(s):  
Elena V. Sergeeva ◽  
Keyword(s):  
20Th Century ◽  
Russian Language ◽  
Early 20Th Century ◽  
Literary Works ◽  
The Bible ◽  
Poetic Texts ◽  
Revolutionary Period ◽  
The Russian Language

Bible words have recently become the focus of linguists’ attention. They are viewed as separate vocabulary group in the system of nominative, expressive and metaphorical means of the Russian language. This paper examines the evolution of Bible words functioning in S. Yesenin’s poems from religious humanism to expressing revolutionary protest. Functioning patterns and techniques of desacralization are studied. The results of Yesenin’s poems analysis demonstrate that the poet used Bible words to convey the message that secular and sacred worlds can overlap. The topic of religious humanitarianism is developed on the basis of desacralization of Bible words that further actualize the meaning of sacrificing for the sake of Revolution. Against-God motives that were characteristic for the literary works of the early 20th century appear in Yesenin’s poetry. Reinterpretation of Bible words in various contexts in literary works definitely indicates their importance for poetic texts, and studying their functioning patterns in different type of discourse could be the focus for a number of further research works.

scholarly journals Art of the second half of XX — early XXI centuries as visual philosophy

2021 ◽  
Vol 4 ◽  
pp. 95-106
Author(s):  
Natalia Dyadyk ◽  
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
21St Century ◽  
Visual Art ◽  
Conceptual Art ◽  
Early 21St Century ◽  
The World ◽  
Analysis And Synthesis ◽  
Death Of The Author ◽  
Contemporary Artists

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

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