scholarly journals Fenicjanie a sprawa polska. Problemy reprezentacji w „Faraonie” Bolesława Prusa

Wielogłos ◽  
2021 ◽  
pp. 47-66
Author(s):  
Wacław Forajter

[Phoenicians and the Polish Cause. Problems of Representationin Bolesław Prus’s Faraon] This article proposes to reflect on selected paradoxes of representation in Bolesław Prus’s novel Faraon [The Pharaoh]. First of all, the author discusses the validity of the notions of “truth” / “falsehood” in literary studies and proves that there is no reason for applying them to fiction. Then, he focuses on the depiction of the uncanny magician Beroes and his actions, which transgress realistic standards of probability. Finally, the author argues that the analogy between the novel’s fictional Phoenicians and 19th-century Polish Jews drawn by some researchers is unjustified both because of the novel’s narrative mode and the writer’s opinions expressed in his other texts.

2019 ◽  
Author(s):  
Frank Hentschel

This article explores the musical means composers in the nineteenth century used to evoke the uncanny (das Unheimliche). While most existing attempts to determine these means rely on an author’s subjective opinion with regard to particular evocations of the uncanny, this article draws exclusively on contemporary sources. Drawn from the RIPM database, thirteen examples have been selected—following Ernst Jentsch’s notion of the uncanny and based on a clearly defined set of selection criteria—from works by Weber, Loewe, Berlioz, Schumann, Wagner, Boito, and Ambroise Thomas. Compositional devices that recur in several of the works discussed prove to be of central importance. The article asks, finally, how these techniques generate the effect of the uncanny.


2021 ◽  
Vol 15 (1-2) ◽  
pp. 1-29
Author(s):  
Axel Pichler ◽  
Nils Reiter

Abstract The present article discusses and reflects on possible ways of operationalizing the terminology of traditional literary studies for use in computational literary studies. By »operationalization«, we mean the development of a method for tracing a (theoretical) term back to text-surface phenomena; this is done explicitly and in a rule-based manner, involving a series of substeps. This procedure is presented in detail using as a concrete example Norbert Altenhofer’s »model interpretation« (Modellinterpretation) of Heinrich von Kleist’s The Earthquake in Chile. In the process, we develop a multi-stage operation – reflected upon throughout in terms of its epistemological implications – that is based on a rational-hermeneutic reconstruction of Altenhofer’s interpretation, which focuses on »mysteriousness« (Rätselhaftigkeit), a concept from everyday language. As we go on to demonstrate, when trying to operationalize this term, one encounters numerous difficulties, which is owing to the fact that Altenhofer’s use of it is underspecified in a number of ways. Thus, for instance, and contrary to Altenhofer’s suggestion, Kleist’s sentences containing »relativizing or perspectivizing phrases such as ›it seemed‹ or ›it was as if‹« (Altenhofer 2007, 45) do by no means, when analyzed linguistically, suggest a questioning or challenge of the events narrated, since the unreal quality of those German sentences only relates to the comparison in the subordinate clause, not to the respective main clause. Another indicator central to Altenhofer’s ascription of »mysteriousness« is his concept of a »complete facticity« (lückenlose Faktizität) which »does not seem to leave anything ›open‹« (Altenhofer 2007, 45). Again, the precise designation of what exactly qualifies facticity as »complete« is left open, since Kleist’s novella does indeed select for portrayal certain phenomena and actions within the narrated world (and not others). The degree of factuality in Kleist’s text may be higher than it is in other texts, but it is by no means »complete«. In the context of Altenhofer’s interpretation, »complete facticity« may be taken to mean a narrative mode in which terrible events are reported using conspicuously sober and at times drastic language. Following the critical reconstruction of Altenhofer’s use of terminology, the central terms and their relationship to one another are first explicated (in natural language), which already necessitates intensive conceptual work. We do so implementing a hierarchical understanding of the terms discussed: the definition of one term uses other terms which also need to be defined and operationalized. In accordance with the requirements of computational text analysis, this hierarchy of terms should end in »directly measurable« terms – i. e., in terms that can be clearly identified on the surface of the text. This, however, leads to the question of whether (and, if so, on the basis of which theoretical assumptions) the terminology of literary studies may be traced back in this way to text-surface phenomena. Following the pragmatic as well as the theoretical discussion of this complex of questions, we indicate ways by which such definitions may be converted into manual or automatic recognition. In the case of manual recognition, the paradigm of annotation – as established and methodologically reflected in (computational) linguistics – will be useful, and a well-controlled annotation process will help to further clarify the terms in question. The primary goal, however, is to establish a recognition rule by which individuals may intersubjectively and reliably identify instances of the term in question in a given text. While it is true that in applying this method to literary studies, new challenges arise – such as the question of the validity and reliability of the annotations –, these challenges are at present being researched intensively in the field of computational literary studies, which has resulted in a large and growing body of research to draw on. In terms of computer-aided recognition, we examine, by way of example, two distinct approaches: 1) The kind of operationalization which is guided by precedent definitions and annotation rules benefits from the fact that each of its steps is transparent, may be validated and interpreted, and that existing tools from computational linguistics can be integrated into the process. In the scenario used here, these would be tools for recognizing and assigning character speech, for the resolution of coreference and the assessment of events; all of these, in turn, may be based on either machine learning, prescribed rules or dictionaries. 2) In recent years, so-called end-to-end systems have become popular which, with the help of neural networks, »infer« target terms directly from a numerical representation of the data. These systems achieve superior results in many areas. However, their lack of transparency also raises new questions, especially with regard to the interpretation of results. Finally, we discuss options for quality assurance and draw a first conclusion. Since numerous decisions have to be made in the course of operationalization, and these, in practice, are often pragmatically justified, the question quickly arises as to how »good« a given operationalization actually is. And since the tools borrowed from computational linguistics (especially the so-called inter-annotator agreement) can only partially be transferred to computational literary studies and, moreover, objective standards for the quality of a given implementation will be difficult to find, it ultimately falls to the community of researchers and scholars to decide, based on their research standards, which operationalizations they accept. At the same time, operationalization is the central link between the computer sciences and literary studies, as well as being a necessary component for a large part of the research done in computational literary studies. The advantage of a conscious, deliberate and reflective operationalization practice lies not only in the fact that it can be used to achieve reliable quantitative results (or that a certain lack of reliability at least is a known factor); it also lies in its facilitation of interdisciplinary cooperation: in the course of operationalization, concrete sets of data are discussed, as are the methods for analysing them, which taken together minimizes the risk of misunderstandings, »false friends« and of an unproductive exchange more generally.


New Sound ◽  
2016 ◽  
pp. 65-80
Author(s):  
Žarko Cvejić

In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automata. My claim in this article, documented with a detailed perusal of contemporary music criticism, is that this line of anti-virtuosic critique was part of the larger 19th-century suspicion of virtuosity as super but also, perhaps, non-humanly accomplished, automatic technique, devoid of all emotion, expression, that is, of human presence and content. Also, I propose to interpret this line of criticism with reference to the even broader 19th-century anxiety over the issue of human subjectivity, that is, its freedom, evident not only in contemporary philosophy (Schelling, Schopenhauer, Novalis, etc.), but also in literature. Such narratives and, as I argue in this paper, much of contemporary criticism of virtuosity were shaped by the uncanny feeling that the human subject, too, like automata and "automatic" virtuosi, may not be free, contrary to the Enlightenment view of the human subject in Rousseau, Kant, and others, but actually under the power of mechanisms beyond itself, operating automatically and not of its own accord. In contemporary criticism of virtuosity, the elusive notions of expression, expressivity, expressive playing and the like, which were deliberately kept under-explained, were then marshalled to preserve the supposedly ineffable or at least ineffably human core of musical performance, in line with the contemporary Romantic view of music as the only means of expressing what is otherwise inexpressible, that is, ineffable.


2018 ◽  
Vol 27 ◽  
pp. 117-127
Author(s):  
Przemysław Paluszek

Huygens: lost ‒ regained ‒ revised. De literair-historische receptievan Constantijn Huygens in de eerste helftvan de 19e eeuwFrom the beginning of professional Dutch Studies M. Siegenbeek’s inauguration as professor elo­quentiae hollandicae extraordinarius, 1797 the 17th century Dutch writers P.C. Hooft and Joost van den Vondel are present in Dutch literary studies and literary historiography. The position of ConstantijnHuygens, whom the contemporary literary scholars also include in the Grote Vijf Great Five of the 17th-century Dutch literature besides Vondel, Hooft, Cats and Bredero, was gradually changing dur­ing the 19th century. This article postulates that the reception of Huygens in literary historiography of the first half of the 19th century can be divided into three phases. In the first phase Huygens’ works practically disappeared from the Dutch literary landscape. The second phase encompasses growing interest for Huygens as an important historical figure. In the third phase it is possible to observe a shift in critical reception of Huygens: from Huygens as a historical person to Huygens as a poet.


2021 ◽  
Vol 16 (11) ◽  
pp. 486-503
Author(s):  
Martyna Ujma ◽  

The article presents the theoretical-literary concept developed by Sidney Lanier in the second half of the 19th century in America. The author presents the assumptions of the theory of poetic notation, primary and secondary rhythm, and the links between literature and the social landscape described by the American in “The Science of English Verse” and “The English Novel”. The considerations are included in the framework of reflection on the way of shaping contemporary cultural literary studies.


2021 ◽  
Vol 2/2021 (1) ◽  
pp. 1-15
Author(s):  
Leszek Hońdo

The Jewish cemetery in Tarnów dates from the 16th century. It has an extremely valuable group of tombstones from the 17th, 18th and early 19th century. They are monuments of sepulchral art as well as cultural testaments — not only of Tarnovian Jews, but generally of Polish Jews. The article presents the oldest tombstones in the cemetery. The preserved tombstones originate only from the second half of the 17th century.


2022 ◽  

In the 19th century, foreigners had unprecedented access to Spanish America, as the newly independent nations welcomed travelers as readily as they accepted foreign loans and investment capital. Britons were able to freely travel into the South American interior, and commercial ties between Britain and Latin America grew quickly. Cultural and economic exchanges proceeded in two major waves: the first occurred during and in the immediate aftermath of the Wars of Independence, and then, after a cooling-off period, during the second half of the century, when infrastructural and technological advances opened up the Latin American hinterlands to capitalist expansion. International trade grew after 1850, along with Britain’s role in Latin American culture. Britain remained the hegemonic foreign power in Latin America until the First World War. These relationships left their mark on both British and Latin American literatures. In addition to a vast number of travel books about Latin American countries by adventurers, explorers, and tourists, British poets, novelists, philosophers, and historians also drew inspiration from this still relatively unknown territory. Toward the end of the 20th century, Victorian studies began to focus more insistently on British and Latin American exchanges, often making use of historical analyses that interpreted the British-Latin American relationship in terms of dependency theory and world-systems theory. These analyses have generally characterized Britain’s enormous economic, cultural, and political influence in terms of informal imperialism, a strategy for establishing domination over a territory without ruling it directly; however, the nature of British imperialism in Latin America, and its implications for cultural analysis, remain much debated. Currently, literary studies of Britain’s role in Latin America, and Latin America’s role within the British literary imaginary, constitute a large and growing body of scholarship. This bibliographic introduction offers an overview of important texts produced in the 19th century, as well as major currents of scholarship in literary studies and related humanities disciplines.


2017 ◽  
Vol 26 (1) ◽  
pp. 118-133 ◽  
Author(s):  
Rónán McDonald

In recent years there have been numerous pronouncements by diverse figures in the humanities, including Bruno Latour, Rita Felski and Eve Kosofsky Sedgwick, that critique and ‘paranoid reading’ has run out of steam. There has been renewed attention to form, the ‘literary’, affect and the phenomenology of reading. What are the implications of this new turn for Beckett studies? Is it possible to articulate a positive value for a writer that undoes value, without simply recuperating him or her into the cultural economy? This essay is in two parts, counterpointed but complementary. The first takes a metacritical approach, elaborating synergies in Beckett and wider developments in academic literary studies. The second offers a close reading of Beckett's late prose text ‘All Strange Away’, from which I derive my titular quotation. This late work is both deeply engaged with and explicitly resistant to the Western aesthetic tradition, especially Romanticism. It deploys cultural and literary traces of aesthetic tradition, but only to parody and deface them, leaving for instance the imagination/fancy distinction blurred and suggestive, and the whole equipment for judgment uncomfortably residual and remaindered. Yet for all the play on auto-critique and self-cancellation, the text keeps the imagination flickering, precisely in the self-reflexive domain. The imagined death of the imagination, endures as the remainder, preventing the actual death and thereby keeping the possibility of valuation in process. We begin to find it in the percussive accompaniment enacted by the language: the unmistakable cadences and symmetries of Beckett's own prose. Ultimately a close reading of Beckett reveals the patterns and shapes of the prose and the drama, which as Adorno pointed out, gesture towards emancipatory possibilities without naming them. The pleasure of reading Beckett emerges from the dialectic of estrangement and recognition, mixing the uncanny and patterned linguistic markers. These signposts are found in the language, in the rhythms, patterns, repetitions and variations highlighted by a formalist criticism attentive to the phenomenology of reading.


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