scholarly journals Obrazy niepowagi: O tłumaczeniu poezji nonsensu na przykładzie wiersza The Akond of Swat Edwarda Leara

2020 ◽  
pp. 205-239
Author(s):  
Agata Hołobut
Keyword(s):  
Fairy Tale ◽  
The Other ◽  
Gradual Transition ◽  
Religious Leader ◽  
War On Terrorism ◽  
Historical Figure ◽  
Graphic Representations ◽  
The One ◽  
Literary Circles

Images of Irreverence: Nonsense Poetry in Translation as Exemplified by Edward Lear’s Poem The Akond of Swat The paper deals with selected “rewritings” of Edward Lear’s nonsense poem The Akond of Swat, focusing specifically on the translators’, illustrators’, adapters’ and editors’ attitudes towards the allusive nature of the poem – the reference it makes to the historical figure of the Pashtun religious leader Abdul Ghaffūr, also known as the Akond (or Wali) of Swat or Saidū Bābā, which may be viewed as problematic from a postcolonial viewpoint. Recent translated and illustrated versions of the poem inscribe it with new aesthetic and ideological values. Two Polish translations considered in the paper, produced by Andrzej Nowicki and Stanisław Barańczak respectively, demonstrate changing approaches to the nonsense genre displayed in Polish literary circles (gradual transition from pure to parodistic nonsense). Graphic representations of the poem discussed in the paper testify to the artists’ interpretive powers in redefining the genre of Lear’s poem: rebranding it as an infantile fairy tale on the one hand and a disturbing reflection on tyranny and “the war on terrorism” on the other.

Shalott’s Song: a Specific Feature Found in Balmont’s Translation of A. Tennyson’s Poem «The Lady of Shalott»

2020 ◽  
pp. 22-33
Author(s):  
Margarita Shanurina
Keyword(s):  
Neutral Word ◽  
Fairy Tale ◽  
The Other ◽  
Original Text ◽  
Academic Paper ◽  
Other Hand ◽  
The One

This academic paper is devoted to the analysis of a specific feature which could be found in K. Balmont’s translation of A. Tennyson’s poem «The Lady of Shalott». The aim of the work is to study the reasons why Balmont uses the word «волшебница» to describe the heroine in his translation while there is no word with such semantics in the original text. (This word is put in the name of the translated work and it is found in almost every stanza).English analogue of the word «volshebnitsa» (that is, the word «enchantress», which, according to the Oxford English Dictionary, is closest to this word in semantics), while in the original text of the poem this word is not mentioned, the neutral word «lady» is used andonce (in the speech of the mower who hears the heroine singing, but does not see her) there is the word «fairy». This article, on the one hand, summarizes existing studies on the topic; on the other hand, complements them. The study highlights and considers several reasons for the above-mentioned discrepancy between the original text and its translation: emphasizing the connection with a fairy tale, revealing a number of motifs which play an important role in the work of Balmont himself (namely, motifs of music and creativity as magic) and an indication of the main heroine’s charming beauty.

scholarly journals Deconstruction of the Construction: Derridean Study of Selected Shakespeare’s Comedies

2020 ◽  
Vol 23 (4) ◽  
pp. 90-120
Author(s):  
Seyyedeh Zahra Nozen ◽  
Pegah Sheikhalipour
Keyword(s):  
William Shakespeare ◽  
The Other ◽  
Literary Texts ◽  
Cultural Norms ◽  
Merchant Of Venice ◽  
Twelfth Night ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Historical Figure ◽  
The One

Since it was first introduced by Jacques Derrida in the late 1960s, deconstruction, as a method of reading, has been applied to literary texts by critics to reveal the hidden messages of texts and provide opportunities to rethink textual and cultural norms and conventions. While the western tradition has always prioritized tragedy over comedy due to its elegance and graveness, this research tends to focus on comedy as an entity in itself. Tragedy, especially in the Shakespearean sense of the word, has been considered by critics as a “construction” that is well-wrought and perfect in nature. Comedy, on the other hand, is notable for laughing at the laughable and mocking the unfit. Put differently, there has always been a latent, freewheeling “deconstruction” within comedy, especially the Shakespearean. There is, thus, an attempt here to prove, on the one hand, how comedy can be put forth not as an inferior genre but as a supplement to tragedy and, on the other, how comedy moves toward deconstruction and how it tends to subvert or deconstruct the constructions. Investigating a selection of Shakespeare’s comedies including As You Like It, The Merchant of Venice, and Twelfth Night, this study compares and contrasts Shakespearean comedy in light of some Derridean concepts. Along with it, Shakespearean ideas and concepts which are interconnected with those of Derrida are introduced and are buttressed through some meticulously chosen excerpts. Bearing in mind that Derrida is in a habit of deconstructing the so-called established creeds, Shakespeare’s texts are exposed to a deconstructive reading to examine how deceptively simple ideas are dealt with in his selected comedies. Also, as numerous enigmas have for years revolved around the personality of William Shakespeare, this study also aims to take up certain critical idioms of the Derridean canon, elaborate on them and then relate them to the selected plays from the Shakespearean oeuvre in order to disclose some personal aspects of Shakespeare’s personality as a historical figure.

Unzuverlässigkeit bei heterodiegetischen Erzählern: Konturierung eines Konzepts an Beispielen von Thomas Mann und Goethe

2018 ◽  
Vol 12 (1) ◽  
pp. 77-92
Author(s):  
Matthias Löwe
Keyword(s):  
Fairy Tale ◽  
Literary Work ◽  
Thomas Mann ◽  
The Other ◽  
Niklas Luhmann ◽  
Essential Information ◽  
Other Hand ◽  
The One ◽  
Definition Of ◽  
Psychic System

Abstract Heterodiegetic narrators are not present in the story they tell. That is how Gérard Genette has defined heterodiegesis. But this definition of heterodiegesis leaves open what ›absence‹ of the narrator really means: If a friend of the protagonist tells the story but does not appear in it, is he therefore heterodiegetic? Or if a narrator tells something that happened before his lifetime, is he therefore heterodiegetic? These open questions reveal the vagueness of Genette’s definition. However, Simone Elisabeth Lang has recently made a clearer proposal to define heterodiegesis. She argues that narrators should be called heterodiegetic only if they are fundamentally distinguished from the ontological status of the fictional characters: Heterodiegetic narrators are not part of the story for logical reasons, because they are presented as inventors of the story. This is, for example, the case in Johann Wolfgang Goethe’s novel Elective Affinities (1809): In the beginning of this novel the narrator presents himself as inventor of the character’s names (»Edward – so we shall call a wealthy nobleman in the prime of life – had been spending several hours of a fine April morning in his nursery-garden«). Based on that recent definition of heterodiegesis my article deals with the question whether such heterodiegetic narrators can be unreliable. My question is: How could you indicate that the inventor of a fictitious story tells something which is not correct or incomplete? In answering this question, I refer to some proposals of Janina Jacke’s article in this journal. Jacke shows that the distinction between homodiegetic and heterodiegetic narrators should not be confused with the distinction between personal and non-personal narrators or with the distinction between restricted and all-knowing narrators. If you make such differentiations, then of course heterodiegetic narrators can be unreliable: They can omit some essential information or interpret the story inappropriately. Heterodiegetic narrators of an invented story can even lie to the reader or deceive themselves about some elements of the invention. That means: A heterodiegetic narration cannot only be value-related unreliable (›discordant narration‹), but also fact-related unreliable. My article delves especially into this type of unreliability and shows that heterodiegetic narrators of a fictitious story can be fact-related unreliable, if they tell something which was not invented by themselves. In that case, the narrator himself sometimes does not really know whether he tells a true or a fictitious story. Such narrators are unreliable if they assert that the story is true, although they are suggesting at the same time that it is not. I call this type of unreliable narrator a ›fabulating chronicler‹ (›fabulierender Chronist‹): On the one hand, such narrators present themselves as chroniclers of historical facts but, on the other hand, they seem to be fabulists who tell a fairy tale. This type of unreliability occurs especially if a narrator tells a legend or a story from the Bible. My article demonstrates this case in detail with two examples, namely two novels by Thomas Mann: The Holy Sinner (1951) and Joseph and His Brothers (1933–1943). My article also discusses some cases where it is not appropriate or counter-intuitive to call a heterodiegetic narrator ›unreliable‹: i. e. the narrator of Thomas Mann’s novel The Magic Mountain (1924) and the narrator of Johann Wolfgang Goethe’s novel Wilhelm Meister’s Apprenticeship (1795/1796). On the one hand, these narrators show some characteristics of unreliability, because they omit essential pieces of information. On the other hand, these narrators are barely shaped as characters, they are nearly non-personal. However, in order to describe a narrator as unreliable, it is – in my opinion – indispensable to refer to some traces of a narrative personality: Figural traits of a narrator provoke the reader to identify all depicting, describing and commenting sentences of a narration as utterances of one and the same ›psychic system‹ (Niklas Luhmann). Only narrators who can be interpreted as such a ›psychic system‹, provoke the reader to assume the role of an analyst or ›detective‹, who perhaps identifies the narrator’s discordance or unreliability. In my article the unreliability of a narration is understood as part of the composition and meaning of a literary work. I argue that a narrator cannot be described as unreliable without designating a semantic motivation for this composition by an act of interpretation. Therefore, my suggestion is that a narration should be merely called unreliable if it encourages the reader not only to imagine the told story, but also to imagine a discordant or unreliable storyteller.

Representations of the (woman) judge: Hercules, the little mermaid, and the vain and naked Emperor

Legal Studies ◽  
2002 ◽  
Vol 22 (4) ◽  
pp. 602-624 ◽  
Author(s):  
Erika Rackley
Keyword(s):  
Fairy Tale ◽  
The Other ◽  
Women Judges ◽  
Other Hand ◽  
The One ◽  
The Impact ◽  
Alternative Understanding ◽  
Woman Judge

This paper reconsiders images of the judge and, in particular, the position of the woman judge using fairy tale and myth. It begins by exploring the actuality of women's exclusion within the judiciary, traditional explanations for this and the impact of recent changes. It goes on to consider the image of the Herculean judge, arguing that whilst we may view him as an ideological construct, or even as a fairy tale, we routinely deny this to ourselves and to others. This both ensures the normative survival of Hercules and simultaneously constrains counter-images of judges, including that of the woman judge, who becomes almost a contradiction in terms, faced with the need to shed her difference and fit the fairy tale. Like the little mermaid, the woman judge must trade her voice for partial acceptance in the prince's world.This image of silencing which Andersen's tale so vividly captures highlights a paradox in current discourses of adjudication. On the one hand, women judges are viewed as desirable in order to broaden the range of perspectives on the bench, thus making the judiciary more representative; on the other hand, judges are supposed to be without perspective, thus suggesting there is little need for a representative judiciary. Feminists and other commentators negotiate their way uncomfortably through this territory, acknowledging a gender dimension to adjudication, but failing fully to confront its implications. This paper seeks to ‘undress’ the judge, to flush out images of adjudication which deter or prevent women from joining the judiciary and constrain their potential within it. It highlights both the role of the imagination in existing conceptions of adjudication and the increasing necessity for a re-imagined Hercules – an alternative understanding of the judge which women and other groups currently underrepresented on the bench can comfortably and constructively occupy.

Silone'S Celestino V and the Fabula of the Evolution of a Soul

2005 ◽  
Vol 39 (1) ◽  
pp. 73-82
Author(s):  
Maria Grazia Di Paolo
Keyword(s):  
The Other ◽  
Religious Leader ◽  
Main Character ◽  
The One

This study explores the intra-textual and inter-textual connections existing between Pietro del Morrone, elected Pope Celestino V, the protagonist of Silone's L'avventura d'un povero cristiano and Pietro Spina, the author's main character of Vino e pane, Ed egli si nascose, and Il seme sotto la neve. Both characters undertake parallel journeys, but whereas Pietro Spina's voyage is essentially secular in nature, Pietro del Morrone's is essentially mystical. With a political revolutionist on the one hand and a religious leader on the the other, Silone, by reinterpreting history, shows us a dual pattern of behavioral tenet.

scholarly journals The landscape code “water / river” in the ritual folklore of the Forest Yukaghir and its significance in the ethnic history of the people

2020 ◽  
pp. 36-49
Author(s):  
L. N. Zhukova ◽  
Keyword(s):  
Fairy Tale ◽  
The Other ◽  
Taiga Zone ◽  
Quick Response ◽  
Potential Danger ◽  
The People ◽  
Ethnic History ◽  
History Of ◽  
Magical Power ◽  
The One

The paper considers one of the main landscape codes of Kolyma Yukaghir hunters and fishermen, namely, the code of water / river. The significance of the water resources of the forest and taiga zone as lactating, transporting, and serving as a reference point in space is captured in the oral folklore of the forest Yukaghirs (Oduls). The image, functions, and significance of water/river according to folklore genres are considered. The pagan appeals to the deified “nursing” elements, their attendant rites, and modern functioning are analyzed. Lyric songs are closely adjacent to this genre, with the maternal nature of the water element functionally highlighted in them. In prosaic texts, the poetic component of the macro image of the water / river is reduced, and the text can directly or indirectly report a real or potential danger emanating from the water. The nursing function of the elements in them is only implied; the river acts as a transport artery, serving as a landmark on the ground. The ambivalent symbolism of water is clearly reflected in the ancient fairy-tale cycle about Mythical old peoplecannibals, legends about the struggle with neighboring peoples, little stories. In the stories about shamans, the magical power of water is actualized. The analysis of the multi-genre texts showed the ambivalence of the water element, on the one hand, lyrically sung in songs and ritual folklore, on the other, bearing a real threat and the potentiality of meeting with hostile creatures. The basis of this algorithm is the feeling of constant anxiety, the need for a quick response, and the adoption of protective responses. The factors identified could influence the formation of the ethno-psychological world of the northern nomad.

scholarly journals The reflection of fabulousness in Igor Kovach’s musical theatre (on the example of the fairy-tale ballet “Bambi”)

2021 ◽  
Vol 23 (23) ◽  
pp. 78-91
Author(s):  
Yuliia Grytsun
Keyword(s):  
Instrumental Music ◽  
Fairy Tale ◽  
Symphony Orchestra ◽  
The Other ◽  
Pop Music ◽  
Children's Music ◽  
Organic Part ◽  
Theatrical Music ◽  
The One

Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers become listener, among them the fairy-tale ballets “The Northern Tale” and “Bambi”. The children’s music by I. K. Kovach did not receive proper consideration except for short newspaper essays and magazine notes, M. Bevz’s (2007) article devoted to children’s piano music. Thus, the problem of holistic study of children’s stage music by Igor Kovach still remains open. Objectives. The present article is devoted to the identification of musicalthematic, timbre-texture, genre-stylistic features, with the help of which the multifaceted figurative world of the ballet “Bambi” is embodied. The aim and the tasks of this research – to reveal the specifics of the figurative world of the fairytale ballet “Bambi” and to identify the musical means by which it is embodied. The role of the orchestra is established, the means of thematic characteristics of the characters are traced, and the peculiarities of the musical language stipulated by the requirements of the chosen genre are noted. Methodology. To achieve the aim we have used special scientific methods: genre, stylistic, intonation-dramaturgical and compositional ones. The presentation of the main material. The music for the fairy-tale ballet “Bambi” belongs to two authors: Igor Kovach and his son Yuri. The new features inherent in the sound palette are manifested in the instrumentation, where along with the usual composition of a modern symphony orchestra there are saxophones, rhythm- and bass-guitars, drums, which due to their timbres bring a sharp taste of emotional and behavioural looseness. Introducing the qualities of non-academic tradition into the academic orchestra, the authors, on the one hand, use them according to their origin, on the other – turn them into an organic part of the symphonic score. By making a “concession” to pop music, simplifying harmonious language, freeing it from the extreme manifestations of expanded tonality, bringing it closer, on the one hand, to classical-romantic, on the other – to jazz, Igor Kovach showed his inherent sense of modernity, “address quality” of creativity. Conclusions. Thus, the fabulous multifaceted world of “Bambi” is revealed in the ballet owing to the bright thinking and language of the composer. The action of the ballet takes place against the background of bright genre sketches, which are as if immersed in the very density of life. This impression arises due to the dynamics of rhythms, colourful orchestration, and a variety of styles, addressed to the sound world of today. Generalized intonations of academic art organically coexist with the turns of song quality of different origins, dance quality, march quality, jazz improvisations, which was facilitated by the co-authorship with Yuri Kovach.

scholarly journals TRADITIONAL METHODS OF PRODUCING NATURAL DYES AND WOOL DYEING AMONG THE INGUSH IN THE 19TH - EARLY 20TH CENTURIES

2022 ◽  
pp. 139-148
Author(s):  
Хава Магомедовна Акиева
Keyword(s):  
Twentieth Century ◽  
Natural Dyes ◽  
The Other ◽  
Gradual Transition ◽  
North Caucasus ◽  
Traditional Methods ◽  
The North ◽  
Wool Dyeing ◽  
The One ◽  
Handicraft Production

В статье рассматриваются традиционные способы производства природных красителей, раскрываются особенности технологии правильного крашения с применением натуральных ингредиентов. Антропология цвета в культуре ингушей базировалась на двухуровневой основе: с одной стороны, она была связана с естественно-средовыми условиями окружения, с другой - формировалась под влиянием исторической практики и жизнедеятельности народа. Рассматриваются технологические издержки, которые возникают при производстве натуральных красителей в домашних условиях. Отмечается, что к началу ХХ в. на территории Северного Кавказа происходит постепенный переход от применения натуральных красителей к более дешевым и менее трудоемким фабричным аналогам. Автором представлен систематизированный перечень местных красильных растений и деревьев, дается информация о красильных свойствах минералов и технологии их использования в кустарном производстве ингушей в XIX-XX вв. в процессе крашения шерсти. На основе проведенного анализа делается вывод о том, что в современных условиях происходит утрата традиционного опыта производства натуральных красителей и крашения шерсти у ингушей. The paper discusses traditional methods for the production of natural dyes, the features of the technology of correct dyeing. The anthropology of color in the culture of the Ingush was based on a two-level basis: on the one hand, it was associated with the natural environmental conditions, and on the other hand, it was formed under the influence of historical practice and life. The technological costs that arise in the production of natural dyes at home are considered. The research shows that by the beginning of the twentieth century in the North Caucasus there is a gradual transition from the use of natural dyes to cheaper and less laborious factory analogues. The author presents a systematized list of local dyeing plants and trees, provides information on the dyeing properties of minerals and the technology of their use in the handicraft production of the Ingush in the 19th - 20th centuries in the process of dyeing wool. Based on the analysis, the author concludes that in modern conditions there is a loss of traditional experience in the production of natural dyes and wool dyeing among the Ingush.

scholarly journals “THE LAWYER MONOPOLY” SHOULD IT BE MOVED?

2020 ◽  
Keyword(s):  
Transition Period ◽  
Point Of View ◽  
The Other ◽  
Gradual Transition ◽  
Court Cases ◽  
Advantages And Disadvantages ◽  
The Law ◽  
The One ◽  
Representation Of Interests ◽  
Autonomous Republic

The article deals with the debate on the so-called “lawyer monopoly” on representation of interests in court. The Law of Ukraine "On Amendments to the Constitution of Ukraine (on Justice)" adopted on June 2016, dated June 2, 2016, No. 1401-VIII literally divided the legal community into two camps: "for" and "against" the so-called "monopoly of the Bar". It should not be denied that both supporters of this reform and its opponents have strong arguments in favor of their beliefs. In the last four years, both camps have made new arguments in support of their point of view. But every year, since the passage of the aforementioned law, calls for change have become louder. This is due to the fact that, on the one hand, the aforementioned law introduced a gradual transition to representation in all judicial instances only by a lawyer and a prosecutor, and on the other, by the fact that the proposal to exclude the rule of “lawyer monopoly” from the Constitution of Ukraine was one of the first bills of President Vladimir Zelensky. Several steps have now been taken to abolish this "monopoly" but the whole path has not yet been completed. Thus, from January 1, 2020 the Law of Ukraine 390-IX “On Amendments to Certain Legislative Acts of Ukraine on Expanding the Possibilities of Self-Representation in the Court of State Authorities, Bodies of the Autonomous Republic of Crimea, Local Self-Government Bodies and Other Legal Entities, Whatever Their Order, came into force creation ”, but the bill announced by the President No. 1013 of 29.08.2019 still remains within the walls of the Verkhovna Rada of Ukraine. This leads to some contradictions and inconsistencies in court cases regarding who can participate in litigation. In the article the author highlights the advantages and disadvantages of "lawyer's monopoly", as well as the problematic issues of the so-called transition period.

scholarly journals Internaliterary synthesis as genre-forming factor in the story of S. Georgievskaya “Love and Cybernetic”

2019 ◽  
Vol 24 (4) ◽  
pp. 670-680
Author(s):  
Olga N. Chelyukanova
Keyword(s):  
Fairy Tale ◽  
The Other ◽  
Lyrical Poetry ◽  
The One

The article is devoted to the analysis of the stylistic role in intraliterary synthesis which is represented in the story “Love and Cybernetics’’ by S. Georgievskaya. The author of the article shows how as a result of synthesis is organically merged with prosaic content, on the one hand, and content organized according to the principles of lyrical poetry, on the other. The lyration of the prose by S. Georgievskaya is facilitated by the author’s appeal to the possibilities of artistic synthesis. The poetry world of S. Georgievskaya is characterized by a kind of interpenetrability of diff erent genre structures, in a number of which one of the essential places belongs to fairy tale modality. The appeal to the genre canon of the fairy tale reveals the mythopoetic foundations of her lyrical thinking, susceptibility to archetypical images-symbols. The author of the article notes that the story sees the features of a dramatic kind of literature: the emphasis is primarily on action, external and internal-spiritual, and hence - some artifi cial note of what is happening. The author of the article comes to the conclusion that S. Georgievskaya successfully manages to use intraliterary synthesis which is refl ected the plot, composition, the choice of characters, the sequence of motifs and themes.

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