Post-communist Interpretation of History in the Albanian Literature in Kosovo

2020 ◽  
Vol 29 (3) ◽  
pp. 91-107
Author(s):  
Lindita Tahiri ◽  
Muhamet Hamiti
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Modernist Literature ◽  
Historical Discourse ◽  
Third Person ◽  
The Moment ◽  
The Relationship ◽  
The Voice ◽  
Fictional Truth

This article focuses on stylistic choices in the novel Im atë donte Adolfin (My father loved Adolph) by the Albanian author in Kosovo Mehmet Kraja (2005) as a strategy to generate a post-communist perspective of interpreting history. By blending first-person narration as confidentiality and third-person narration as conventionality (Barthes, 1978), the possessive construction ‘my father’ in this literary text serves both as referential label and deictic, generating dual focalization (Phelan, 2005). The heterodiegetic narrator is positioned simultaneously as a neutral eye witnessing narrator and as a signal of subjectivity. Even in cases of intradiegetic role the narrator remains detached interweaving his voice with the voice of the character. The synchronized overt and distant narratorial stances in this novel correspond with the demonstration of historical discourse as both subjective and factual narration. The relationship between fiction and truth has been widely treated in the post-modern intellectual thought, and as Borg (2010) points out in his study on Beckett and Joyce, the radical narrative innovations are “examples of a peculiarly modernist engagement with the nature of factual and fictional truth” (p. 179), suggesting that in modern literary texts “every event exists factually and fictionally at the same time” (p. 187). As a resonance to Borg’s analysis of modernist literature, in Kraja’s novel the knowledge about history consists of both factual and imaginative elements, bringing “the moment of truth in all its potential” (p. 191).

scholarly journals CRITICAL STUDY OF IRANIAN MOVIE »NASSEREDIN SHAH, ACTOR OF CINEMA «ON THE BASIS OF THEORIES OF THE POSTMODERN NOVELS

2019 ◽  
Vol 8 (3) ◽  
Author(s):  
Shirzad Tayefi ◽  
Mohammad Hossein Ramezani Fookulaee
Keyword(s):  
Qualitative Method ◽  
Literary Texts ◽  
Critical Study ◽  
The Novel ◽  
Postmodern Literature ◽  
Visual Texts ◽  
French School ◽  
Fiction Writers ◽  
Visual Text ◽  
The Relationship

Contrary to the French school of comparative literature, according to which it is merely possible to compare the two written texts in terms of conditions, in the American approach, the adaptation of literary texts to various arts, including cinema, is possible, which leads to a better understanding of literature. Since novels and films have many similarities, they are in many respects similar to each other, and two genres are considered analogous.These commons provide a good ground for discussing a movie from the perspective of a new literary theory and critique, and allow us to use the concepts and terminology we normally know as a tool for discussing the novel to critically explore the structure and art and the themes of the film. On the other hand, in recent years, the term "postmodernism" has been widely criticized about the novel in our country, and many new fiction writers also have a fascination with postmodern style fiction. Therefore, in this research, first, reviewing the views of some of the most important postmodern literature scholars, nineteen techniques used in postmodern novels are explored, and their qualitative method of applying them to Naser al-Dinshah film actor have been investigated.The results of the study show the relationship between literature and cinema (as a visual text) and the ability to compare the two written and visual texts; as many techniques used in the writing of postmodern novels are also with a high frequency have been used in the studied film

scholarly journals To the question of transformation of literary texts into stage version (“Three Years” of A. P. Chekhov in theatrical interpretation of S. V. Zhenovach)

Litera ◽  
2020 ◽  
pp. 33-41
Author(s):  
Daria Savinova
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Action Identification ◽  
Unpublished Manuscript ◽  
Complex Process ◽  
Authorial Intent ◽  
Stage Direction ◽  
New Type ◽  
Theatre Studies

This article is dedicated to the question of text transformation from authorial intent to stage impersonation. Despite the established tradition of studying the questions of recoding of literary text into theatrical, there is yet no theoretical-literary substantiation. Recoding is considered a complex process of creating a new type of text by the theatre director for staging a play. Therefore, an attempt is made to analyze the elements of transformation of literary text into its stage version, using the example of S. V. Zhenovach’s unpublished manuscript for stage direction based on A. P. Chekhov’s novella “Three Years”. The novelty of this research consists in determination of the patterns in transformation of literary text into stage version. The tools and means of expression applied in theatre and literature are different. If in literature it is possible to set several task and solve them all within the framework of the novel, then in theatre, it must be one ultimate task that organizes the action. Identification of the key peculiarities of existence of such type of text as “stage direction” on the example of transformation of the novella “The Years” from the authorial intent to stage impersonation demonstrated its significance for not only theatre studies, but also the theory of literature.

Are Puns Mere? Christine Brooke-Rose's Amalgamemnon

2021 ◽  
Vol 16 (4) ◽  
pp. 529-545
Author(s):  
Julia Jordan
Keyword(s):  
The Novel ◽  
Late Modernism ◽  
Distinctive Character ◽  
Avant Garde ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
The Face ◽  
The Moment ◽  
Secret Knowledge ◽  
The Relationship

This article will explore the relationship between linguistic puns and knowledge, in particular puns in Christine Brooke-Rose's work, and what they tell us about knowledge: secret knowledge; encoded knowledge; latent knowledge that remains latent; and the refusal of knowledge. My title is an allusion to Frank Kermode's 1967 essay ‘Objects, Jokes, and Art’, where he puzzles away at his own difficulty with distinguishing avant garde writing and art, especially what he calls the ‘neo-avant garde’ of the 60s, from jokes. ‘I myself believe’, he writes anxiously, ‘that there is a difference between art and a joke’, admitting that ‘it has sometimes been difficult to tell.’ Brooke-Rose, whose work Kermode admired, is a perfect example of this. Her texts revolve around the pun, the surprise juxtaposition between semantic poles, the unexpected yoking together of disparate elements. Puns, for Brooke-Rose, sit at the juncture between the accidental and the overdetermined. So what is funny about the pun? Not much, I propose, or rather, it provokes a particular sort of ambivalent laughter which becomes folded into the distinctive character and affective potency of late modernism itself: its deadpan silliness; its proclivity to collision and violence; its excitability and its melancholy. Brooke-Rose's humour is thus of the difficult sort, that is, humour that reveals itself at the moment of its operation to be not all that funny. The unsettling laughter, I propose, that exposes literature's own incommensurability with itself. For Jacques Rancière, the novel must illuminate somehow the ‘punctuation of the encounter with the inconceivable’, in the face of which all is reduced to passivity. The pun, in particular, forces the readers’ passivity, and exposes us to limits of what can be known.

The Coptic Church in Popular Fiction on the Eve of the Arab Spring:Youssef Ziedan’s Azazeel

2018 ◽  
Author(s):  
Nichole Perera
Keyword(s):  
Popular Fiction ◽  
The Novel ◽  
Academic Scholarship ◽  
The Subject ◽  
Coptic Church ◽  
Significant Addition ◽  
Theological Controversy ◽  
The Arab Spring ◽  
The Relationship ◽  
The Voice

The 5th century CE was a period of intense theological controversy concerning the relationship between the human and divine in Christ. This dispute led to the permanent separation of the Egyptian Coptic church from Imperial Orthodoxy. The events of the 5th century, previously confined to academic scholarship, have recently become the subject of popularizing works like Agora (2009), The Jesus Wars (2010), and 428 AD (2009). The Arabic novel Azazeel (2009), written by the Egyptian Islamic scholar Youseff Ziedan, is a significant addition to these other works. Like The Da Vinci Code in its use of “actual” historical evidence, Azazeel purports to be a compilation of newly discovered Syriac scrolls written by the Coptic monk Hypa, which detail his spiritual trials between 411 and 437 CE. The novel sparked great controversy in Egypt among Coptic Christians for creating a misleading picture of important figures and events in their early history. Copts felt that a Muslim scholar was appropriating the voice of a Coptic monk without clearly signalling it was a work of fiction in order to produce a false account of Coptic origins. Though published before the Arab Spring, it soon became further evidence of the oppressive intentions of the Muslim majority against a Coptic minority in Egypt. Azazeel is different from other similar works in English because the events of the 5th century are still part of the living identity of Copts.

scholarly journals An exploration of place and its representations: an intertextual/ dialogical reading of the photographs of AB Ovenstone and the novel Gillespie by John MacDougall Hay.

2016 ◽  
Vol 41 ◽  
Author(s):  
Lindsay Fiona Blair
Keyword(s):  
Literary Text ◽  
Landscape Painting ◽  
The Novel ◽  
Work Of Art ◽  
Shipping Company ◽  
Private Collection ◽  
Semiotic Approach ◽  
The Subject ◽  
The Common ◽  
The Relationship

“An intertextual/ dialogical reading of place through photography and fiction” The article is an exploration of place and its representations based on the intertextual reading of a series of photographs (1880-82) of Tarbert, Loch Fyne by Andrew Begbie Ovenstone (1851-1935) and the dialogical reading of a novel, Gillespie (1914), by John MacDougall Hay (1881-1919) which is set in Tarbert. The proposed article is inspired by a sense that a semiotic approach to the subject will reveal far more than has been discovered within the tradition of hermeneutics and patrimony and that much will be gained by a study of the contrast between written and visual signifiers. The article raises questions about the (unexamined) coded readings of place especially in relation to the photograph, and the lack of an adequately theorized tradition for the novel. The literary text is well known - if not well understood - but the images are from a rare, unpublished, private collection of photographs from Scotland, India and the furthest reaches of Empire (Ovenstone was the Atlantic Freight Manager of Anchor Line Ltd, the Glasgow shipping company). The paper emphasizes the need for the use of codes to decipher the texts. When we “read” the photographs we need to be aware of the intertextual relationship between the photograph and the landscape painting tradition as well as the common practice of the created tableau – there is then overlaid upon the image the sense of a set of conventions, a system which operates much like a language. We are able to discover through the notion of the “long quotation from appearances” the potential for more complex “synchronic” readings. Likewise, in the case of Gillespie, the novel operates within a genre which determines a “reading”. When we are aware of a code, we become aware of the way that Hay manoeuvres adroitly to thwart the reader’s best efforts to settle upon a preferred reading – especially one shaped by an authoritative narrator - which thereby allows for the genuine experience of “heteroglossia” to emerge. The notion of truth in Gillespie is interrogated in the light of Heidegger’s essay “The Origins of a Work of Art” in order that the relationship between representation and reality be clarified.

scholarly journals Music as Metaphor and Music Metaphors in Belles-Lettres and Scientific Music-Literary Discourse

2020 ◽  
pp. 88-108
Author(s):  
Svitlana Macenka
Keyword(s):  
Literary Text ◽  
Modernist Literature ◽  
Music And Literature ◽  
Hans Blumenberg ◽  
Sign Systems ◽  
Music In Literature ◽  
George Lakoff ◽  
The Moment ◽  
Semantic Compatibility

In view of the importance of music as metaphor in the famous works of German literature (Thomas Mann's Doctor Faustus, Hermann Hesse's The Bead Game) and with reference to numerous statements made by the authors about music as an important element of their creativity, the article offers insight into the advantages of metaphorical approach to the analysis of music in literature as one that is productive and compatible with intermediality. As some Germanic literary studies papers attest, the proponents of metaphorical understanding of the interaction between literature and music (e.g. English modernist literature researcher Sarah Fekadu, Hermann Hesse's scholar Julia Moritz, theoretician of literature and jazz relations Erik Redling) rely on leading concepts about metaphor (those by Wilhelm Köller, Hans Blumenberg, George Lakoff and Mark Johnson) to substantiate the specific idea of musicality behind literary text. In particular, J. Moritz suggests that the musicality of a literary text should be perceived as metaphor which enables different ideas, depending on context or literary phenomena. Music and literature in this case form a completely different link, in which not the forms of art themselves but the perceptions of them are transformed in such a way as to create a new image which reveals a specific quality of literary text. It is emphasized that the metaphorical model helps solve the dilemma of whether “real” music can be found in literature as we no longer speak of such medium as “music” but of musicality as a specific quality of literature. That is why, literature which possesses musicality does not need to give up its essence to imitate music. The interdisciplinary character of the metaphorical understanding of music is also discussed and exemplified by current music studies papers which study literature. Music studies scholars do not deny the interaction between the two sign systems – music and literature. Thus, Christian Thorau claims that metaphorical calling is the calling of “contrastive exemplification”, figurative and sensual calling of common and different qualities. Semiotic prospect maintains sensibility where heterogeneous sign constellations (for instance, painting and music but also music and verbalized text) produce the moment of conflict through different sign forms regardless of the strength of semantic compatibility or difference. Within the semiotic mode this conflict may be studied as cross-modal metaphorism.

scholarly journals MEMORIES AND STORIES OF RETURNING HOME IN KHALED HOSSEINI'S NOVELS THE KITE RUNNER, AND THE MOUNTAINS ECHOED, A THOUSAND SPLENDID SUNS

2020 ◽  
Vol XI (31) ◽  
pp. 27-37 ◽  
Author(s):  
Elena Spirovska
Keyword(s):  
Civil War ◽  
Life Stories ◽  
Sibling Relationships ◽  
Home Country ◽  
The Novel ◽  
Leaving Home ◽  
Returning Home ◽  
The Moment ◽  
Afghan Civil War ◽  
The Relationship

The aim of this paper is to analyze the acts of returning home, thinking about home and the significance of home and returning home in Khaled Hosseini’s novels The Kite Runner, A Thousand Splendid Suns, and in the novel And the Mountains Echoed. As an American writer of Afghan origin, who left his home country as a child and moved to USA, Khaled Hosseini addresses the concepts of leaving home, immigration, and returning home in all of his published novels. In 2003, Khaled Hosseini published his first novel The Kite Runner. This story depicts the friendship between two Afghan boys, whose relationship is broken by the Afghan civil war and the violence before and in the aftermath of the war. In this novel, returning home is an act of redemption on behalf of Amir, for the betrayal of his best friend Hassan. Hosseini’s second novel, A Thousand Splendid Suns, describes the relationship between two women and their lives under the Taliban regime. Mariam’s and Laila’s life stories are intertwined the moment Laila, forced by the circumstances in Kabul during the civil war and the loss of her parents and her home, accepts Rasheed’s marriage proposal, becoming his second wife. The strained relationship between her and Mariam develops into close friendship, which ends the day Mariam kills Rasheed to protect Laila. Laila returns to Afghanistan and visits Mariam’s home. For her, this is an act of paying respect, of visiting a place where she can sense Mariam’s soul and her presence. And the Mountains Echoed presents the life stories of a number of characters, mutually connected in different ways. One of the sibling relationships described is the relationship between Pari and Abdullah who are separated as children. Pari, who leaves her home and is adopted, always feels the strange sensation of being homesick and missing somebody or something in her life. For Pari, who plans to travel to Afghanistan in attempt to find the answers to her questions, the act of returning home is exploring her own personality and heritage.

scholarly journals L’influence du genre à la transmission de la mémoire : Cas de Dora Bruder de Patrick Modiano

2019 ◽  
Vol 3 ◽  
pp. 00022
Author(s):  
Fauzan Hanif
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Patrick Modiano ◽  
Cultural Experiences ◽  
The Moment ◽  
The Relationship

<p class="Abstract">Such cultural experiences have a possibility to be embedded in a memory of one generation. But there are mostly in form of traumatic experiences. And then, we learn that these memories could be transferred onto their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the author, Patrick Modiano, plays his attribute in composing genres to arrange and transfer his message. The story mainly concerns as the narrator try to find a missing girl named Dora Bruder. She was gone in 1941, or in the moment when Nazi was occupying France. This research aims to discover the relationship between the role of genre on emerging the message, particularly the traumatic ones by using the concept of genre and postmemory. From the analysis we conclude that Modiano use genres to transfer his message traumatic. It exists in form of the impression of absence. From the sensation of absence, he continues to transmit consecutively another impression of hollow, doubt, and also hope. For transferring his message and memory, Modiano mixes real documents and his fiction. He manifest them by constructing a story of another person and narrating it from the first-person point of view. He uses this technique to identify himself, because the “shared idea” of one’s could be related with another’s.</p>

scholarly journals Van kind tot jong volwassene: Die ontwikkeling van die hoofkarakter in De koperen tuin van Simon Vestdijk

Literator ◽  
2001 ◽  
Vol 22 (1) ◽  
pp. 203-219
Author(s):  
B. Van der Westhuizen
Keyword(s):  
Young Adult ◽  
Narrative Form ◽  
The Novel ◽  
Main Character ◽  
Philosophical Text ◽  
Brass Band ◽  
The Future ◽  
The Moment ◽  
The Relationship ◽  
Point Of Departure

From child to young adult: The development of the main character in De koperen tuin (The garden where the brass band played) by Simon Vestdijk From an intertextual study it emerges that the postulated view of reality in the psychological-philosophical text De toekomst der religie (The future of religion) (1947) is transposed in narrative form in the text-internal vision of reality in the novel De koperen tuin (The garden where the brass band played) (1950). In both these texts the religious point of departure of the meaning of existence is reflected upon. Existential aspects especially highlighted, include the following: the I, the relationship with others, being involved in the situation, freedom, responsibility, guilt, angst, death, that which is “too-late”. Furthermore the extension of the moment, the directedness at a personal passion, and the individual’s courage to be and to keep “becoming” are also highlighted. All these aspects emphasizing existentialism are portrayed in the development of the main character, Nol Rieske, from little boy to young adult.

scholarly journals Anna Karenina no cinema: o primeiro encontro de Anna e Vronski nos filmes de 1935, 1948 e 2012 / Anna Karenina on the cinema: the first encounter of Anna and Vronski in the movies from 1935, 1948 and 2012

2017 ◽  
Vol 10 (2) ◽  
pp. 254-270
Author(s):  
Juliane Bassanufa Oliveira ◽  
Carlos Francisco de Morais
Keyword(s):  
Research Group ◽  
Literary Text ◽  
The Novel ◽  
Literature Research ◽  
Anna Karenina ◽  
Theoretical Perspectives ◽  
De Se ◽  
Clarence Brown ◽  
The Many ◽  
The Relationship

RESUMO: Este estudo surgiu da participação no grupo de pesquisa intitulado Literatura em Diálogo, que tem como objetivo o estudo e a pesquisa sobre as diversas adaptações cinematográficas do romance Anna Karenina, de Leon Tolstói. Neste estudo, em particular, é feita uma análise da primeira cena de encontro entre Anna Karenina e Alexei Vronski, nas adaptações cinematográficas de 1935 (Clarence Brown), 1948 (Julien Duvivier) e 2012 (Joe Wright), e no texto literário de Tolstói (1877). A apropriação do texto literário pelo cinema fez com que os olhares de teóricos de ambas as artes se voltassem para a relação entre elas. Sendo assim, há diversos conceitos a serem analisados e articulados, entre eles: fidelidade, tradução, elementos fílmicos e intertextualidade. Nesta pesquisa, investiga-se o material literário, sua recriação cinematográfica e as múltiplas possibilidades que surgem dessa relação de linguagens artísticas diferentes e com particularidades específicas. Dentro das próprias produções fílmicas serão apontadas, ao longo do artigo, as diferentes formas de realizar adaptações, que carregam as ideologias do seu realizador, condições de realização e contextos históricos diferentes. A perspectiva teórica que norteia esta pesquisa é a literária em conjunto com a cinematográfica, segundo os estudos de Stam (2006), Pereira (2009), Hutcheon (2011) e outros. Em outras palavras, investiga-se qual(is) representação(ções) pode(m) ser percebida(s) nessas adaptações fílmicas feitas através da apropriação do texto. Pretende-se observar não somente o deslocamento do literário para a obra cinematográfica, mas também as diferentes formas de se fazer a adaptação dentro das próprias produções para a tela do material ficcional, pois não existe uma única maneira de produzir adaptações.PALAVRAS-CHAVE: Anna Karenina; adaptações; cinema; literatura; pesquisa.ABSTRACT: The origin of this study is the participation in the research group Literature and Dialogue, that seeks to study and research the many filmic adaptations of the novel Anna Karenina, by Leon Tolstoi. In this particular study, an analysis of the first encounter between Anna Karenina and Alexei Vronski was conducted, as it was portrayed in the filmic adaptations from 1935 (Clarence Brown), 1948 (Julien Duvivier) and 2012 (Joe Wright), as well as in the literary text by Tolstoy (1877). The appropriation of the literary text by the cinema made the theoreticians from both fields turn their attention towards the the relationship between them: fidelity, translation, filmic elements and intertextuality. In this research, the literary material was investigated, as well as its filmic recreations and the multiple possibilities that come from the relationship between different artistic languages with specific particularities. Within the filmic productions themselves, throughout the article, different ways to conduct adaptations are going to be pointed at, as they carry the ideologies of their auteurs, the conditions in which they were produced and their different historical contexts. This study was informed by literary and cinematographic theoretical perspectives, according to the studies of Stam (2006), Pereira (2009), Hutcheon (2011) and others. In other words, this study investigates which representations may be found in the filmic adaptations conducted through the appropriation of the text. The study aims not only at looking at the movement from literature to cinematographic work, but also at the different ways to conduct an adaptation within the productions of the fictional material for the screen, since there are many possible ways to produce adaptations.KEYWORDS: Anna Karenina; adaptations; cinema; literature; research.

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