scholarly journals The Presence of María de Velasco in Pinar’s Juego trobado, in the Carajicomedia, and in La novela del licenciado Vidriera by Cervantes

2021 ◽  
Vol 8 ◽  
pp. 33
Author(s):  
Roger Boase
Keyword(s):  
Don Quixote ◽  
Literary Texts ◽  
Card Game ◽  
Main Character ◽  
Novelas Ejemplares ◽  
The Arts ◽  
Chivalric Romance

Research on the court ladies who participated in Pinar’s Juego trobado, a card game in verse completed in 1496, led to the discovery that María de Velasco, wife of Juan Velázquez de Cuéllar, and adoptive-mother of Ignatius Loyola, subsequently appears in several literary texts, the first of which is the Carajicomedia, where she is metamorphosed into an old prostitute skilled in the arts of seduction. Surprisingly, I have detected her presence in La novela del licenciado Vidriera, one of Cervantes’ Novelas ejemplares: each of the names of the main character, given or adopted during the course of his life, is linked in some way with this lady; and, furthermore, there are other correspondences, above all the symbolism of the quince. This begs the question whether the tale was intended to convey a coded message, and if so, one wonders what kind of message.  This discovery also seems to add some credence to the theory that in Don Quixote Cervantes wished to parody the life of Ignatius Loyola as well as the heroes of chivalric romance.

scholarly journals A Slap in the Face of Socialist Taste: The Novel "Nikolai Nikolaevich" by Yuz Aleshkovsky As a Contestation of the Rules of Socialist Realism

2021 ◽  
Vol 31 ◽  
pp. 1-22
Author(s):  
Elżbieta Tyszkowska-Kasprzak
Keyword(s):  
Socialist Realism ◽  
Literary Texts ◽  
The Novel ◽  
Main Character ◽  
Sperm Donor ◽  
The Arts ◽  
Socialist Realist ◽  
Long Time ◽  
The Face ◽  
First Time

Yuz Aleshkovsky wrote the novel „Nikolai Nikolaevich” in the 1970s. For a long time, the work was disseminated in samizdat and it appeared in print for the first time only in 1980. Composed under the censorship conditions of socialist realism dominant in the arts, this work violates strict taboos imposed on subjects related to sexuality and stylistic solutions which exclude sub-normative vocabulary. In many aspects, the composition of the novel resembles the pattern of the production novel. At the same time, the writer negate the values propagated in the art of socialist realism: the main character is a former pickpocket, who built a comfortable life for himself as a sperm donor in a laboratory and talks about his professional achievements in a language saturated with profanity and elements of criminal jargon. The plot of the work is based on an amalgamation of components characteristic of ideologized literary texts with elements that were unacceptable in such texts. The introduction into the novel of the theme of corporality, and human sexuality, which was a taboo topic in socialist realist literature, introduces a major dissonance and induces produces a comic effect.

Strange Weather: Indigenous Materialisms, New Materialism, and Colonialism

2018 ◽  
Vol 5 (3) ◽  
pp. 353-370 ◽  
Author(s):  
Alison Ravenscroft
Keyword(s):  
New Materialism ◽  
Literary Texts ◽  
Ethical Question ◽  
Australian Context ◽  
The Arts ◽  
Western Concept ◽  
Post Humanism

The essay looks at the challenges Australian Indigenous materialisms make to the Western concept of human and its relation to the inhuman, and it does this through reading the novels of Waanyi writer, critic, and activist Alexis Wright. In the Australian context, a highly productive knot is being tied between post-humanism and postcolonialism, such that the binary of “culture” and “nature” is understood in relation to another binary couple that sits snugly within “culture” and “nature,” and that is “colonizer” and “native.” The place of Indigenous-signed literary texts in critiques of Western materialisms cannot be underestimated. It is through the arts that most encounters between Indigenous and settler Australians take place. How non-Indigenous readers might approach these literary texts is a key ethical question with implications for new materialist and post-humanist projects.

““Di una pretesa scuola napoletana””: Sowing the Seeds of the Ars nova at the Court of Robert of Anjou

2007 ◽  
Vol 24 (2) ◽  
pp. 272-296 ◽  
Author(s):  
CARLA VIVARELLI
Keyword(s):  
Sacred Music ◽  
Second World War ◽  
Local History ◽  
Literary Texts ◽  
Musical Culture ◽  
Avant Garde ◽  
The Arts ◽  
Ars Nova ◽  
Important Center ◽  
Second World

The presence of two famous exponents of the French and Italian ars nova in Naples in 1318––respectively Petrus de Sancto Dionysio and Marchetto da Padova––substantiates Nino Pirrotta's hypothesis that the Angevin capital was an important center of musical culture in the early Trecento and a setting for avant-garde debates. It also aids in reconstructing the elusive biography of the Paduan musician and clarifies the much debated dating of his Pomerium. Pirrotta ultimately abandoned his Neapolitan hypothesis for lack of evidence, a difficulty caused and aggravated by the thorough destruction of Angevin chancery documents during the Second World War. Evidence has been found, however, in indirect sources, such as literary texts, works of local history, and documentary transcriptions and summaries that predate the archival losses. In addition to placing the two prominent musicians at the Angevin court in Naples, these sources confirm the presence there of minstrels (evidence for secular music within the court's recreational sphere), vouch for the continuity of the institution of the royal chapel (evidence for sacred music at court, clearly connected to the liturgy), and testify to Robert of Anjou's catalytic patronage of the arts and his passion for music in general. Thus Naples regains its status as a capital on the map of 14th-century music.

The Subterranean Grail Paradise of Cervantes

PMLA ◽  
1923 ◽  
Vol 38 (2) ◽  
pp. 401-411
Author(s):  
Philip Stephan Barto
Keyword(s):  
Miguel De Cervantes Saavedra ◽  
Don Quixote ◽  
Miguel De Cervantes ◽  
The Everyday ◽  
Chivalric Romance

The Don Quixote of Miguel de Cervantes Saavedra was written (1606-1615) in ridicule of the chivalric romance at that time so overwhelmingly popular. The sickening exaggeration of these latter-day tales of knighthood apparently not only cloyed Cervantes but excited his sense of the ludicrous as well, giving him the idea of turning upon this type of story his powers of subtle satire. Since Cervantes was a man of by no means great academic erudition, what he knew of the background of knightly romance he had doubtless secured in the everyday way of popular reading. Certain high lights must naturally enough have struck his attention in his perusal of current tales of chivalry, and such came in for especial attention in his Don Quixote. Each episode of the book has, indeed, its more serious counterpart in the literary background which inspired Cervantes to his task.

scholarly journals Postmodern discrediting the figures of the Author and the Reader in the novel “Kys” by T. Tolstaya

2019 ◽  
Keyword(s):  
Social Evolution ◽  
Literary Texts ◽  
The Novel ◽  
Stone Age ◽  
Main Character ◽  
Late Stone Age ◽  
Post Modernism ◽  
The Way

The article deals with the way the figures of Author and Reader are represented in the plot of the novel “Kys” by T. Tolstaya. The discreditation of the figures is proved to have the features of postmodernist literature. In the novel events which are narrated about, occurred after atomic Explosion, which thrown off humanity in cultural and social evolution to late Stone Age. In this future exists race named “golubchiki” – mutants who were born after Explosion and who are spiritual degraded. The main character is Benedict. He rewrites texts allegedly written by the chief of represented society – Fedor Kuzmich Kablukov. Benedict is trying to interpret the written in his own way, which brings to birth of Reader, turning according to post-modernism into new “Dieu cache”. However Benedict’s intellection as the most “golubchiks” is primitive. The character invariably compares what is read to his own experience, his associations are concretely ignorant and remain within the framework of native environment. But Benedict himself fully believes in post-modern way that he is Reader, standing above Author. Demonstrative is also Benedict’s perception of Pushkin : he does not see in Pushkin anything sacral or mythological. In his opinion the poet is nothing but a common wooden statuette, engraved therewith by himself. So, Benedict is not the admirer but ingenuous maker, the creator of Pushkin, in other words, a God for his creation. There is also another “author” in the novel – Fedor Kuzmich, who takes the advantage of the situation when Author dies (all true authors have died before or after an Explosion). Kablukov recopies somebody else’s text zealously. Thereby usurping Author’s role, being only the typical scripter indeed, who have replaced the author in post-modern study. Accordingly, in the novel “Kys” already on the plotline level is designed post-modern situation of author’s death: all literary texts are written very long ago, in the modernity of “golubchiks” is nothing new created; the only “author” – Fedor Kuzmich appears to be just a scripter, who recopies another’s compositions. Author’s figure in that way turns into figment and is almost completely leveled. In “Kys” is also disconsidered the meaning of born Reader, who imagined himself Dieu cache, though he is not capable making any adequate interpretation of a text.

THE LINGUO-COGNITIVE ASPECT OF EKPHRASTIC REFERENCES IN A LITERARY TEXT (BASED ON THE WORKS BY D. RUBINA AND M. ATWOOD)

2021 ◽  
Vol 7 (1) ◽  
pp. 62-79
Author(s):  
Polina I. GAVIN ◽  
Olga B. PONOMAREVA
Keyword(s):  
Literary Criticism ◽  
English Language ◽  
Literary Text ◽  
Literary Texts ◽  
Main Character ◽  
Cognitive Analysis ◽  
Resonance Model ◽  
Art Object ◽  
Literary Device ◽  
Visual Construction

The following article explores ekphrasis as a literary device in the context of the Russian and English language literary texts. The phenomenon of ekphrasis is regarded to be a relatively researched area in the literary criticism. However, the majority of the existing research focuses on the visual representations in the verbal medium, thereby neglecting the aspect of the reader’s possible interpretation of an ekphrastic description and its stylistic expression in a literary text. Thus, the aim of this article is to identify the specific language patterns constructing ekphrastic references in the Russian and English language literary texts by conducting a comparative linguo-cognitive analysis of ekphrastic intertextual references in Dina Rubina’s ‘On the Sunny Side of the Street’ (2006) and Margaret Atwood’s ‘Cat’s Eye’ (1988). The research is based on the comparative linguo-cognitive analysis combining the following cognitive poetic techniques: the ‘figure — ground’ dichotomy, the model of literary resonance, and the narrative interrelation theory. The analysis of the figure-ground relations in ekphrastic descriptions has shown that the main character takes the figure position and becomes a pronounced attractor, thereby exerting an affective influence on the reader’s perception. The application of the literary resonance model confirms this claim by identifying typical semantic, syntactic and stylistic features (attractors) of the character in the analysed ekphrastic passages. The comparison of an ekphrastic description to a passage which it is based on has revealed the characteristic parallelism of their syntactic and semantic patterns. In part, parallel constructions contain specific intertextual references that create links to an art object, thus actualising the representation of a picture in the reader’s perception. A comparative linguo-cognitive analysis of ekphrastic references in Russian and English literary texts has shown the possible intratextuality of ekphrastic references, which establish the relationships between plots within the narrative. Additionally, in both literary texts, ekphrastic references imitate the visual construction of an object of art at the semantic, syntactic and textual levels and, as a result, accentuate the metaphorical realisation of the presented artefact.

GIFTING PAIN: THE PLEASURES OF LIBERAL GUILT INLONDON, A PILGRIMAGEANDSTREET LIFE IN LONDON

2013 ◽  
Vol 41 (1) ◽  
pp. 91-123 ◽  
Author(s):  
Tanushree Ghosh
Keyword(s):  
Paradise Lost ◽  
Lower Class ◽  
Divine Comedy ◽  
Don Quixote ◽  
Literary Texts ◽  
Social Investigation ◽  
Daily News ◽  
Gift Books ◽  
Social Exploration ◽  
Idylls Of The King

In 1872, Blanchard Jerrold and Gustave Dorébegan publishing their lavish travelogue,London, a Pilgrimage. Much renowned for his illustrations ofDivine Comedy,Don Quixote,Paradise Lost,Idylls of the King, and other significant literary texts, Doré's considerable reputation as an artist fetched him a staggering sum of ten thousand pounds as payment for his work inLondon, a Pilgrimage. Jerrold, responsible for conceptualizing the project, was an established liberal playwright and journalist, often contributing pieces to theDaily News,Illustrated London News, andAthenaeum.Looking for interesting material, Jerrold and Doré traveled all over London; Doré often made notes on the spot and finished the illustrations later. Seeking to situate their work within the field of social exploration, Jerrold and Doré referenced Henry Mayhew's reformist journalistic series,London Labour and the London Poor. Jerrold claimed that their social investigation would reproduce for contemporary readers Mayhew's categories of “those who work, those who cannot, [and] those who won't work” (“Frontmatter”). Volumes ofLondon, a Pilgrimage, however, were reviewed as gift-books in various periodicals; theExaminer, for example, reviewed it in the “Christmas-Books” section, indicating that these volumes, which contained pictures of lower-class shanties and miserable, under-fed people, were being gifted and enjoyed (“Christmas-Books”).

Theatre and Political Discord: Theatre Rebels of Zimbabwe and Kenya

1998 ◽  
Vol 23 (1) ◽  
pp. 38-43
Author(s):  
I. Peter Ukpokodu
Keyword(s):  
African Country ◽  
The Political ◽  
Wole Soyinka ◽  
Main Character ◽  
Political Activities ◽  
The Arts ◽  
Asking Questions ◽  
The One ◽  
Real Person ◽  
The Relationship

Though the world is aware of the political activities of the Nigerian playwright, Wole Soyinka, it might be difficult to find a better example of the relationship between a nation in a state of socio-political chaos and the arts in an African country than that of Ngugi wa Thiong'o's Kenya as exemplified in Matigari:Matigari, the main character [in Ngugi wa Thiong'o's Matigari], is puzzled by a world where the producer is not the one who has the last word on what he has produced; a world where lies are rewarded and truth punished. He goes round the country asking questions about truth and justice. People who had read [Matigari] started talking about Matigari and the questions he was raising as if Matigari was a real person in life. When Dictator Moi [President of Kenya] heard that there was a Kenyan roaming around the country asking such questions, he issued orders for the man's arrest. But when the police found that he was only a character in fiction, Moi was even more angry and he issued fresh orders for the arrest of the book itself.

scholarly journals THE PECULIARITIES OF CONVEYING THE SOCIAL STATUS OF FICTION CHARACTERS IN TRANSLATION (BASED ON J. FOWLES’ NOVEL «THE COLLECTOR»)

2021 ◽  
Vol 1 (11(79)) ◽  
pp. 12-15
Author(s):  
Anna Pidhorna ◽  
Olha Moiseienko
Keyword(s):  
Social Status ◽  
Literary Text ◽  
Education Level ◽  
Literary Texts ◽  
The Novel ◽  
Main Character ◽  
Linguistic Features ◽  
Constituent Element ◽  
The Social ◽  
Points Of View

The article is devoted to the sociolinguistic aspects of studying the social status and its reflection in literary texts through the speech of fiction characters. Particular attention is paid to the description of the key concept «social status» as a constituent element of the literary character’s image as well as to the research of the ways the character and his/her linguistic peculiarities are represented in the literary text. It was hypothesized that the character’s social status, education level, and worldview in general must be explicitly seen through the speech the author ascribes to the character. The article deals with the novel «The Collector» by J. Fowles and focuses on analyzing the speech peculiarities of its main character, Miranda. Her language is full of various stylistic devices and expressive means, which also testifies how open-minded this personality is, proves her ability to listen and accept different points of view. Miranda’s speech can be described as extremely poetic and emotional. Concerning key linguistic features of her speech, both lexical and grammatical ones can play a role in defining the character’s social status. The article also studies and analyzes the ways of reproducing the stylistic features in the Ukrainian translation of the novel made by G. Yanovska.

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