Teaching The Penguin Book of Migration Literature

The innovative four-point structure—Arrivals, Departures, Generations, and Return—of The Penguin Book of Migration Literature expands the purview established by previous anthologies of immigrant literature by mobilizing a classroom conversation where students’ own lived experiences of migratory crossings combine with the anthology’s narratives to both analyze texts and critique present national and global political climate.

Children of The New Poetry

This chapter argues that the offsprings of The New Poetry have neither the nerve nor nous to have both the fierce partiality and the representativeness of Alvarez. Its Penguin successor, Blake Morrison and Andrew Motion's Penguin Book of Contemporary British Verse, was ultimately a consolidation of a dominant taste more than an argument for a fresh one. The oft-stated complaint about the younger poets championed in their book is that their work was merely a continuation of the Movement by flashier device, but in truth a number of them are better seen as children of The New Poetry. Bloodaxe, a specialist poetry house, has for the last two decades taken upon itself to publish generation-defining anthologies. Its own The New Poetry borrowed Alvarez's title, if not his sense of purpose, but drew heavily on the format and ethos of Edward Lucie-Smith, if not his evaluative sense. The editors assembled work which often showed the influence of Paul Muldoon as well as the New York Poets, whose sense of play, even of fun, is much more clearly at odds with the spirits of Alvarez and of Conquest than are the influences of the Motion/Morison book.

The Interview at the Beginning of Its History. Changes in the Implementations of the Genre

The interview as a journalistic genre formed in the first half of the 19th century. The author of the article studies how interviews developed in the first century of its existence. As the material basis I use the anthology: Wywiady prasowe wszech czasów originally edited by C. Silvester as The Penguin Book of Interviews. The genological analysis indicates that even at the beginning of the genre, interviewers selected as interviewees persons who had something to say about a certain topic. In terms of the structure of the interview, one might conclude that the first instances had the shape and form of a dialogue of two persons of specific pragmatic qualities: a journalist and the person with whom a conservation was considered worthy of publishing in a newspaper. Somewhat along that form, there emerged interviews which included narration, similar in form to the report. The author discusses the reasons for the similarities between the interview and the report.

The Reception of Beat Writers in Japan

The Beat writers, especially Jack Kerouac (1922–1969), William Burroughs (1914–1997), Allen Ginsberg (1926–1997), and Gary Snyder (1930–), have been well known in Japan. Though Snyder’s differences from the other three, such as his West Coast background and a reformist and edifying stance, are obvious, here we choose not to be fussy about the application of a name, and simply follow his inclusion as in Ann Charter’s The Penguin Book of the Beats (1992). The Beat writers have been eagerly translated and read in Japan, though they are not a common focus of academic literary study. They exerted influence on writers and artists, in particular in terms of a rebellious attitude toward the conformist society and formalized artistic conventions prevailing in Japan. One conspicuous aspect of their impact is that it is part of the influx of American popular, mainly youth, culture since the 1950s, involving jazz, folk, and rock music, as well as numerous films depicting antiheroes on the road. Some Japanese poets, most notably Shiraishi Kazuko (1931–) and Yoshimasu Gōzō (1939–) were directly inspired by the Beats, and others unwittingly formed parallel developments. Assessing their specific achievements requires considering the historical context of modern Japanese poetry. The Beats, in turn, were attracted by Eastern cultures and religions, especially Buddhism; Snyder through his stay in Japan for the practice and study of Zen Buddhism had direct contact with Japanese poets, academics, and activists. Generally speaking, Japanese today, though they usually have some inkling of what Zen is, are not necessarily aware of the Buddhist heritage informing their basic worldview. Still, literary manifestations of what Alan Watts termed “Beat Zen,” in particular Kerouac’s, are not dissimilar to the religious attitude of many Japanese toward the world, which tends to seek to intuit a sense of enlightenment or salvation here and now, beyond humanly delimited distinctions and preconceptions.

Іллокуція англомовного дискурсу виправдання (на прикладі творів сучасної художньої англійської та американської прози)

У статті досліджується актоіллокутивний потенціал англійського побутового дискурсу виправдання шляхом зіставлення іллокутивних характеристик частотних у дискурсі виправдання мовленнєвих актів. Спираючись на змодельовані конструкти змісту виправдання, дифенсивну інтенцію мовця визначено передумовою породження дискурсу виправдання. У результаті вивчення наявних у науковій літературі класифікацій мовленнєвих актів визначено, що домінантна іллокутивна сила дискурсу виправдання включає складові інформування та переконування, що типово представлено констативом та асертивом. Власне мовленнєвий акт виправдання визначено як кредитив з включеною перлокуцією винесення виправдального вердикту, яким регулюється міжсуб’єктна взаємодія. Література References Вендлер З. Причинные отношения // Новое в зарубежной лингвистике. – Вып. 18:Логический анализ естественного языка. – М.: Прогресс, 1986. – С. 264–277.Vendler, Z. (1986). Prichinnije otnoshenija [Causal Relations]. 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