From Immorality to Immortality

2021 ◽  
Author(s):  
Maaike Koffeman
Keyword(s):  
Subject Matter ◽  
Cultural Sociology ◽  
Translation Studies ◽  
Reception History ◽  
The Novel ◽  
Madame Bovary ◽  
Publication History ◽  
Branding Strategies ◽  
The Status ◽  
History Of

This article analyses the publication history of Dutch translations of Madame Bovary within the wider context of Flaubert’s reception more generally. In the decades following its publication, Madame Bovary was widely criticized due to its ‘scandalous’ subject matter. Gradually, these moralistic views gave way to a growing recognition of the novel as a modern classic. However, the immorality scandal continued to resonate with readers. We investigate how these diverging views on the novel informed the branding strategies employed by the publishers of its Dutch translations. Combining reception history, translation studies, paratextual analysis, and cultural sociology, we demonstrate how each publisher established a branding narrative that was informed by the status of the translator in question and that targeted a specific readership.

scholarly journals Genrens tøven

2007 ◽  
Vol 35 (103) ◽  
pp. 108-137
Author(s):  
Carsten Sestoft
Keyword(s):  
Seventeenth Century ◽  
The Novel ◽  
Book Market ◽  
English Novel ◽  
The Social ◽  
The Status ◽  
Historical Semantics ◽  
History Of ◽  
Insight Into ◽  
Or History

Romanens status i det 17. århundredes Frankrig The hesitations of a genre: The status of the novel in seventeenth-century FranceIn answering the question: What was the novel in seventeenth-century France? – this article provides insight into some important points of the early history of the genre. The contradiction between its non-existence in official (Aristotelian) poetics and its existence as a popular commodity on the book market was, in the course of the seventeenth century, reconciled in the emergent category of belles lettres as a plurality of genres mainly defined by their public of honnêtes gens, while attempts at legitimizing the novel as belonging to such Aristotelian genres as epic or history generally failed; and at the end of the century a number of convergences – between epic and novel, between the designations roman and nouvelle, and between the ‘high’ and ‘low’ forms of the novel – seem to point to the fact that the social existence of the genre had been strengthened, even if it was the English novel of the eighteenth century that could be said to reap the profits of this stronger position. Using historical semantics and cultural sociology to study the status of the novel in seventeenth-century France thus leads to a clearer understanding of the specificity of the novel as a literary and cultural genre.

The Retitling of Agatha Christie's Ten Little Niggers in Anglophone and Lusophone Markets

2018 ◽  
Vol 27 (2) ◽  
pp. 184-194
Author(s):  
Vanessa Lopes Lourenço Hanes
Keyword(s):  
Detective Fiction ◽  
Popular Literature ◽  
Brazilian Portuguese ◽  
Great Success ◽  
The Novel ◽  
Cultural Issue ◽  
Publication History ◽  
History Of ◽  
International Book ◽  
Book Markets

Agatha Christie's detective fiction has met with great success beyond anglophone markets, having been translated and retranslated in forty-four languages, including Brazilian Portuguese. Christie's ubiquity in popular literature makes the publication history of one of her most highly acclaimed and broadly disseminated novels, originally published as Ten Little Niggers in 1939, especially compelling as a demonstration of postcolonial interconnectivity in international book markets, as publishers followed each other's cues, more or less erratically, in distancing themselves from a thorny cultural issue by rebranding the novel under a series of titles on both sides of the Atlantic.

Fazliddin Muhammadiev’s Journey to the “Other World”: The History of a Cold War Ḥajjnāma

2021 ◽  
pp. 1-32
Author(s):  
Vladimir Bobrovnikov ◽  
Artemy M. Kalinovsky
Keyword(s):  
Soviet Union ◽  
The Other ◽  
The Novel ◽  
History Of The Novel ◽  
Publication History ◽  
Policy Goals ◽  
The Soviet Union ◽  
History Of ◽  
Other World ◽  
Sacred Rite

Abstract Fazliddin Muhammadiev’s Dar on dunyo (“In the other world”), first published in Tajik in 1965 and later translated to Russian, Uzbek, and many other languages, is the only known fictionalized account of the ḥajj produced in the Soviet Union. Based on a trip made by the author in 1963, the novel provided the Soviet reader a rare glimpse into this sacred rite. Drawing on archival sources, contemporary responses, and the text itself, this article traces the origins and publication history of the novel, situates it within Soviet domestic and foreign policy goals, and analyzes the text to see how the author tried to reconcile competing ideological priorities.

Reading the Diatessaron with Ephrem: The Word and the Light, the Voice and the Star

2015 ◽  
Vol 69 (1) ◽  
pp. 70-95 ◽  
Author(s):  
Matthew R. Crawford
Keyword(s):  
Reception History ◽  
Second Century ◽  
The Novel ◽  
John The Baptist ◽  
History Of ◽  
Original Interpretation ◽  
The Voice ◽  
Continuous Narrative ◽  
Opening Section

Through a consideration of the reception history of the so-called “Diatessaron,” Tatian’s second-century gospel compilation, we can learn much about the nature of this peculiar text. Of paramount importance here is the Syriac Commentary on the Gospel attributed to Ephrem of Nisibis. In this article I argue that the ordering of pericopae in the opening section of Tatian’s gospel, which interweaves Matthean and Lukan passages within a broadly Johannine incluisio, prompts the Syriac exegete to an unexpected interpretation of these narratives. By reading these pericopae as a single, continuous narrative, he creatively combines the divine “Word” and “Light” of the Johannine prologue with the Synoptic traditions about John the Baptist as the “voice” and about the star that shone to guide the magi, presenting the star and the voice as extensions of the Son’s own agency. This remarkably original interpretation of the nativity of Jesus illustrates the degree of artistry that went into the making of Tatian’s text and the novel interpretations it elicited from its readers.

Nowhere Man

2013 ◽  
Vol 36 (3) ◽  
pp. 209-230
Author(s):  
Emily Frey
Keyword(s):  
Nineteenth Century ◽  
Reception History ◽  
Russian Society ◽  
The Novel ◽  
History Of The Novel ◽  
Public And Private ◽  
Hands On ◽  
History Of ◽  
Emotional Identification ◽  
Key Questions

Abstract In the opera that bears his name, Evgeny Onegin often seems remarkably inconsequential, a “superfluous man” among Russian society and nearly such in his own tale. Critics from Hermann Laroche to Catherine Clément have lamented not only the triviality of Evgeny's character but the flavorlessness of his music—a deficiency cast into relief by the compelling and pervasive musical presence of Tatiana, the too-eventual object of Evgeny's affections. This imbalance, a departure from Pushkin (whose Tatiana is ever sketchily drawn, and indeed almost mute), has often been attributed to Chaikovsky's well-publicized emotional identification with his heroine. Onegin's blankness thus becomes the product of a composerly flaw: Chaikovsky's inability to portray convincingly in music a character dissimilar to his own. But the Evgeny Onegin Chaikovsky inherited was not only Pushkin's. It was a cultural palimpsest, a text written on and written over by virtually every major intellectual figure in nineteenth-century Russia. By the time Chaikovsky got his hands on them, Pushkin's heroes were entangled in some of the century's most urgent debates: about the ethics of action versus reflection, the slippage between public and private identities. This article traces the constructions of Evgeny and Tatiana in a series of nineteenth- century readings of Evgeny Onegin, examining the ways in which the opera responds to and transforms key questions from the reception history of the novel. Among the texts considered are works by Herzen, Belinsky, and Dostoevsky, whose (in)famous “Pushkin Speech” was the opera's nearexact contemporary. From these readings, and the myriad images of Evgeny and Tatiana they present, emerge insights into a broader discourse about the nature of subjectivity in Europe's only autocracy.

scholarly journals «Немецкая Казань»: имагологический анализ художественных произведений Гузель Яхиной

2021 ◽  
Vol 16 (2) ◽  
pp. 141-152
Author(s):  
Michael Kuhn
Keyword(s):  
The Novel ◽  
Literary Works ◽  
Language And Culture ◽  
The Past ◽  
The Status ◽  
History Of ◽  
The Republic ◽  
Cultural Code ◽  
Analysis Of The Images ◽  
The City

German Kazan”: Imagological Analysis of Guzel Yakhina’s Literary Works| The capital of the Republic of Tatarstan is a multicultural city. It is a combination of “Russian,” “Tatar” and, not least, “German elements”. The writer Guzel Yakhina has repeatedly addressed this cultural diversity in her literary works. In them a native of Kazan explores the past and present of the city. Excellent knowledge of German language and culture allows her to study in detail the “German trace” in the history of the capital of Tatarstan to determine its status. The article offers a brief imagological analysis of the images of “German Kazan” presented in the novel Zuleikha and the essay Garden on the Border, or the Garden “Russian Switzerland”. The imagological study conducted at the macro-, meso- and micro-levels shows that in Yakhina’s literary works the images of “German Kazan” are equivalent to the images of “Russian Kazan” or “Tatar Kazan.” The “German elements” are firmly rooted inthe texture of the city and have been an integral part of its cultural code for several centuries. At the same time, following the novel and the essay, they do not have the status of an exotic “foreign,” but a familiar “other.” „Niemiecki Kazań”: imagologiczna analiza utworów Guzel Jachiny Stolica Republiki Tatarstanu to miasto wielokulturowe. To połączenie „rosyjskiego”, „tatarskiego” i, co nie mniej ważne, „niemieckiego” pierwiastka. Pisarka Guzel Jachina wielokrotnie odnosiła się do tej różnorodności kulturowej w swoich tekstach literackich. Rdzenny mieszkaniec Kazania odkrywa w nich przeszłość i teraźniejszość miasta. Doskonała znajomość języka i kultury niemieckiej pozwala autorce na szczegółowe zbadanie „niemieckiego śladu” w historii stolicy Tatarstanu w celu określenia jego statusu. Artykuł zawiera krótką analizę imagologiczną obrazów „niemieckiego Kazania”, przedstawionych w powieści Zulejkaotwiera oczy i eseju Ogród na granicy, czyli Ogród „Rosyjska Szwajcaria”. Badania imago-logiczne, przeprowadzone na poziomach makro-, mezo- i mikro-, pokazują, że w dziełach literackich Jachiny obrazy „niemieckiego Kazania” są równoważne obrazom „rosyjskiego Kazania” czy „tatarskiego Kazania”. „Elementy niemieckie” są mocno zakorzenione w strukturze miasta i od kilku stuleci stanowią integralną część jego kodu kulturowego. Jednocześnie, w powieści i eseju, nie mają one statusu egzotycznego Obcego, ale znajomego Innego.

scholarly journals Błogosławiony widok i architektura pustelni. Stefana Żeromskiego epizod z dziejów szlaku na Kalatówki

2019 ◽  
Vol 12 ◽  
pp. 277-286
Author(s):  
Małgorzata Łoboz
Keyword(s):  
Active Part ◽  
The Novel ◽  
Spiritual Renewal ◽  
Social Activist ◽  
Mountain Landscape ◽  
The Status ◽  
History Of ◽  
Evolutionary Continuity

A blessed sight and architecture of a hermitage: Stefan Żeromski’s episode from the history of the Kalatówki trailThe article seeks to interpret the motif of Brother Albert Chmielowski participant in the January Uprising, social activist as well as a Young Poland painter in Stefan Żeromski’s 1913 novel Nawracanie Judasza Converting Judas and to answer the question about the role of the Albertine hermitage on Kalatówki. The Albertine congregation played an active part in the development of infrastructure in Zakopane, with the brothers working, for example, on the construction of the most popular tourist trail in the Tatras — to Giewont — an important thread in Żeromski’s novel. Żeromski sees Brother Albert not only as a spiritual idealist and social activist, but also a fine artist creating works typical of modernism painting in the altar in the Kalatówki chapel featuring the crucifix with the suffering Christ. The crucial motif of “converting Judas” lies in the enhancement of the status of landscape, an example of Żeromski’s typical lyricisation of descriptions of nature. For the author of Converting Judas, the subjectification of landscape as well as numerous metaphorised images of nature are used mostly as means to illustrate the protagonist’s inner landscape. The dominant myth in the novel — of eternal creative nature: changeable but personifying the evolutionary continuity of life — is an optimistically soothing answer to decadent dilemmas. In the mountain landscape, surrounded by nature and accompanied by a friar, the protagonist experiences a real katharsis. The “blessed sight” generates strength needed for the construction of the trail and personal spiritual renewal.

scholarly journals N. Chernyshevsky as a character of the novel “Gift” by V. Nabokov: poetics and semantics of the image

2019 ◽  
Keyword(s):  
Second Order ◽  
The Other ◽  
Semantic Features ◽  
The Novel ◽  
The Status ◽  
History Of ◽  
Artistic Work

The article is devoted to the identification of the poetological and semantic features of the image of N. Chernyshevsky as a character of the novel “Gift” by V. Nabokov. An analysis of the latest scientific works devoted to various aspects of the interpretation of Nabokov’s novel has showed such understanding of the structure of the image of protagonist of the fourth chapter, in which the historical and biographical components are of particular importance. However, it seems to the author of this article that it should be considered as an element of the “second order” concerning to re-translators of the deep semantics of the image. N. Chernyshevsky, who appeared in Nabokov’s “Gift” in the status of a character of the artistic work, is an image devoid of any direct references concerning to his real prototype. For this reason, the author of the article considers it not as a self-sufficient semantic equivalent in the structure of the text, but as an immanent element of this structure, which exists exclusively in the other-being of an artifact. It is also shown in the article that in the image of N. Chernyshevsky are actualized those traits, that make it possible to correlate the character with the literary type of the “little man” in that typological realization that is found in the writings of Pushkin and Gogol. In the works of these authors, the “little man” appears in oppositional relations not with another character (a senior person), but with Fate itself, or rather, with irrational metaphysical forces. The plot of the fourth chapter of “Gift” is also constructed by Nabokov as the “history of misfortune” of an offended being, but it is fundamentally significant that the causes of this misfortune are in no way connected with the external circumstances of N. Chernyshevsky’s life. Happiness as a feeling of fullness of life, as an insight in the combination of its trifles the intent of mysterious forces, is unattainable for the “little people” of Pushkin, Gogol and Nabokov, who suffer from the narrowness of their “spiritual horizons”, which are containing only material, transient, earthly.

scholarly journals Edmund Husserl’s Critique of European Science: A Philosophical Evaluation of Covid-19 Pandemic

2021 ◽  
Vol SP (2) ◽  
Author(s):  
Sunday Chukwuma Ezeani ◽  
Ignatius Nnaemeka Onwuatuegwu
Keyword(s):  
Edmund Husserl ◽  
Political Crisis ◽  
The Novel ◽  
Conspiracy Theories ◽  
Philosophical Reflection ◽  
Aids Pandemic ◽  
European Science ◽  
The Status ◽  
History Of ◽  
Spanish Flu

The whole world today is dumped deeply and hopelessly into the scourge of COVID-19 Pandemic. That the invisible virus has kept the entire world both developed and developing countries standstill has busted contemporary man’s bravado in his scientific and technological achievements. This pandemic has called man to look inward into his very existence. The pandemic inasmuch it has brought untold sufferings, is not without some positive influences. It is a time like this, that philosophical reflection on history is of paramount importance. Lest we forget, COVID-19 is not the first pandemic in the human history. There were Black Death of 1346-1353, Spanish Flu of 1918, HIV/AIDS pandemic (at peak 2002-2005), and others. The novel COVID-19 is the child of our time and so we are compelled to live with its challenges both now and after. Nevertheless, in this philosophical reflection, we are going to look into the work of Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology and extract what its contributions signify to our time. Husserl wrote during the postwar years in Europe and so like most of philosophers argued that Europe was not suffering political crisis but crisis of civilization. Naturalism and positivism were the ideologies that were reigning, thus denigrating the status of philosophy in searching into ultimate and highest questions that bother on the vital need of man that is the question of meaning or meaninglessness of human existence (Heffernan; 2015). It is in this frame of thought that we are going to survey the history of Covid19 pandemic, the conspiracy theories on its origin and evaluate the implications of the pandemic in the post-Covid19 society. This essay attempts to inspire a critical reflection on the reader to look at the condition of our time with a critical and philosophical hope and faith.

scholarly journals Delivery Routes for COVID-19 Vaccines

Vaccines ◽  
2021 ◽  
Vol 9 (5) ◽  
pp. 524
Author(s):  
Jang Hyun Park ◽  
Heung Kyu Lee
Keyword(s):  
Immune Responses ◽  
Viral Vector ◽  
Future Research ◽  
The Novel ◽  
Subunit Vaccines ◽  
Mucosal Vaccination ◽  
The Status ◽  
Delivery Routes ◽  
History Of ◽  
Novel Coronavirus

The novel coronavirus, SARS-CoV-2, which causes COVID-19, has resulted in a pandemic with millions of deaths. To eradicate SARS-CoV-2 and prevent further infections, many vaccine candidates have been developed. These vaccines include not only traditional subunit vaccines and attenuated or inactivated viral vaccines but also nucleic acid and viral vector vaccines. In contrast to the diversity in the platform technology, the delivery of vaccines is limited to intramuscular vaccination. Although intramuscular vaccination is safe and effective, mucosal vaccination could improve the local immune responses that block the spread of pathogens. However, a lack of understanding of mucosal immunity combined with the urgent need for a COVID-19 vaccine has resulted in only intramuscular vaccinations. In this review, we summarize the history of vaccines, current progress in COVID-19 vaccine technology, and the status of intranasal COVID-19 vaccines. Future research should determine the most effective route for vaccine delivery based on the platform and determine the mechanisms that underlie the efficacy of different delivery routes.

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