Olena Haleta, Joanna the Wife of Chuza by Lesya Ukrainka as a New Model of Communication in Modern Ukrainian Literature [Joanna, żona Chuzy Lesi Ukrainki jako nowy model komunikacji w modernistycznej literaturze ukraińskiej]re

This article examines the drama Joanna the Wife of Chuza (1909) by Lesya Ukrainka, who is one of the defining figures in the history of modern Ukrainian literature. This work is considered an example of creating a new communicative model, introducing the poetics of an open work in the Ukrainian literature and establishing a new relationship between writer and audience. The incompleteness of the central image of this work, and therefore of the corresponding behavioral model and worldview, leads to the absence of a plot ending which would be the final solution to the conflict. In this way, Ukrainka establishes a new reading practice, not limited to experiencing the ‘life world’ of the author’s work. As reference to the history of thetext shows, it corresponds to the author’s conscious instruction, with which the composition of the work agrees: the events take place in a special period of time, when the previous story has already ended and the new one has not yet begun (after the crucifixion of Christ, but not after the resurrection). At the same time, the spatial organization of the work emphasizes the position of readers, turning them from interested witnesses to active searchers. The example of Joanna is all the more telling because it undermines the hegemony of the novel in twentieth-century literature and draws attention to literary forms that correspond to a particular literary situation, especially that of ‘submerged population groups’ (Frank O’Connor). The change introduced by Lesya Ukrainka at the level of a separate work is also a change within the genre as a way of communicating between an author and a reader; it is also a change in the very notion of literature as a certain type of aesthetic experience and as a culturally established way of cognitive and rhetorical response to a certain type of situation.

For Who the River Carries: Marginalised Perspectives on Twentieth-Century Literature

<p>This thesis examines the representation of rivers from marginalised American authors of the twentieth-century. American rivers are notably diverse and variable natural features, and as symbols they offer extensive metaphorical potential. Rivers also hold a rich literary history in America, notably in the work of canonical nineteenth-century writers such as Ralph Waldo Emerson, Henry D. Thoreau, Walt Whitman, and Mark Twain. The idealised depictions found in the work of these four authors act as a foundation which the marginalised writers of the following century both develop and subvert. The selected marginalised writers fall into three overlapping categories, to each of which is devoted a chapter. To examine those marginalised by economy and class, I have turned to Cormac McCarthy’s 1979 novel Suttree and the poetry of James Wright. Both concern themselves with poverty, river pollution, theology, suicide, and the desolation of American idealism. In my chapter on African American writing, Toni Morrison’s 1987 novel Beloved and selected poems by Sterling A Brown, Audre Lorde, and Margaret Walker are the central texts. These works look to the river and find racial history within its current, evoking varied responses surrounding memory, trauma, creative expression, and recontextualisation. The final chapter explores William S. Burroughs’s 1987 novel The Western Lands and the work of Minnie Bruce Pratt. By “queering nature,” the river becomes both a bitter reminder of their marginalisation and a hopeful symbol of utopia and unity. Together, these texts and the rivers they represent demonstrate the disjuncture between the privileged and marginalised in America, calling for greater consideration of what we deem “American” and why.</p>

For Who the River Carries: Marginalised Perspectives on Twentieth-Century Literature

<p>This thesis examines the representation of rivers from marginalised American authors of the twentieth-century. American rivers are notably diverse and variable natural features, and as symbols they offer extensive metaphorical potential. Rivers also hold a rich literary history in America, notably in the work of canonical nineteenth-century writers such as Ralph Waldo Emerson, Henry D. Thoreau, Walt Whitman, and Mark Twain. The idealised depictions found in the work of these four authors act as a foundation which the marginalised writers of the following century both develop and subvert. The selected marginalised writers fall into three overlapping categories, to each of which is devoted a chapter. To examine those marginalised by economy and class, I have turned to Cormac McCarthy’s 1979 novel Suttree and the poetry of James Wright. Both concern themselves with poverty, river pollution, theology, suicide, and the desolation of American idealism. In my chapter on African American writing, Toni Morrison’s 1987 novel Beloved and selected poems by Sterling A Brown, Audre Lorde, and Margaret Walker are the central texts. These works look to the river and find racial history within its current, evoking varied responses surrounding memory, trauma, creative expression, and recontextualisation. The final chapter explores William S. Burroughs’s 1987 novel The Western Lands and the work of Minnie Bruce Pratt. By “queering nature,” the river becomes both a bitter reminder of their marginalisation and a hopeful symbol of utopia and unity. Together, these texts and the rivers they represent demonstrate the disjuncture between the privileged and marginalised in America, calling for greater consideration of what we deem “American” and why.</p>

Seanchan 's Quest Restoring of the Poet's Right in Yeasts' Play The King's Threshold

William Butler Yeats (1865-1939), the prominent Irish poet and dramatist was one of the foremost figures of twentieth-century literature. He was a driving force behind the Irish Revival, and together with lady Gregory and Edward Martyn established the Abby Theatre, and served as its chief playwright during its early years. He was awarded the Noble Prize in literature for his always inspired poetry which in a highly artistic form gave expression to the spirit of a whole nation. The paper aims at analyzing the poet's quest for social freedom and poet's right in the state. The King's Threshold was first performed by the Irish National Theatre Society at the Molesworth Hall, in Dublin on 7 October, 1903. It is founded upon a Midieval-Irish story of the demands of the poets at the court of King Guaire at Gort, Co. Galway; it was also influenced by Edwin Ellis's play Sancan the bard (1905) which was published ten years earlier, by Edwin Ellis.

The Autonomy of Art and the Legitimization of Biofiction: An Aesthetic Turning Point in Twentieth-Century Literature

Biofiction is literature that names its protagonist after a historical figure, and since the 1990s it has become one of the most dominant literary forms. This is surprising because many prominent scholars, critics, and writers have criticized and even condemned it. This essay hypothesizes that postmodern theories of truth and concomitant transformations in reader sensibilities partly account for the legitimization and now dominance of biofiction. The essay analyzes a 1968 literary debate among Ralph Ellison, William Styron, and Robert Penn Warren, which on the surface concerned the uses of history in literature. But because it happened just one year after the publication of Styron’s controversial novel about Nat Turner, the debate ended up focusing primarily on the nature and value of biofiction. By analyzing the discussion in relation to contemporary formulations about and theorizations of biofiction, this essay illustrates why the forum represents a turning point in literary history, resulting in the decline of a traditional type of literary symbol and the rise of a more anchored and empirical symbol—that is, the type of symbol found in biofiction.

Mot ett bredare arketextualitetsbegrepp: den augustinsk-lutherska diskurstypen i Birgitta Trotzigs Dykungens dotter

This article has three aims, all of them related to the theory and practice of intertextuality. Firstly, the article makes an attempt to reconstruct the Augustinian-Lutheran type of discourse. A number of modern theologians and historians of philosophy have observed that the main currents within Christian theology have their basis in a specific discourse organization of textual utterances. With reference to these observations, the article maps out some dominant features of Augustine’s and Luther’s discoursive practices. The type of discourse thus reconstructed contains grammatical, logical-argumentative, narrative and rhetoric-figurative characteristics, and – as a matter of fact – it manifests a high degree of applicability in the field of literary studies. Secondly, the article applies the reconstructed type of discourse to analyze a masterpiece of Swedish twentieth-century literature, the novel Dykungens dotter (The Marsh King’s Daughter, 1985) by Birgitta Trotzig (1929–2013). In several interviews, Trotzig makes evidently contradictory remarks on Augustine and Luther. She dissociates herself from their anthropology at the same time as she hints that their view of human conditions has made a deep impression on her. The article’s application intends to throw light on this precarious hermeneutic situation. The intense presence of the Augustinian-Lutheran type of discourse in the novel made apparent through the application indicates that an interpretation of Trotzig’s writings by means of Augustinian-Lutheran intertexts is hermeneutically motivated in spite of her own negative declarations. Thirdly, the article makes use of the reconstructed type of discourse in order to examin Gérard Genette’s notion of architextuality. There is a theoretical incongruence in his notion. On an explicit definitory level, architextuality includes all types of discourse and modes of enunciation. On a conteptual level, however, the notion of architextuality is constructed on the pattern of literary genres. The article’s application demonstrates that Genette’s notion requires some corrections to live up to its definitory commitments. The Augustinian-Lutheran architext comes into conflict with some of Genette’s linguisticly construed structuralistic categories and demands a more discoursive and hermeneutic way of thinking.

9. Translation matters

“Translation matters” looks at the role of translation in Jewish literature from the Talmudic period to the present, focusing on the ongoing effort to make Jewish works available speedily in multiple languages. Chaim Nakhman Bialik, Franz Rosenzweig, Martin Buber, and Robert Alter were important translators of sacred literature. Translingualism is a feature of modern Jewish literature, with examples like Sholem Aleichem, Elias Canetti, and Ariel Dorfman. There are also a number of thinkers like Walter Benjamin and George Steiner, who studied translation as a sine qua non of twentieth-century literature. Modern literature depends on translation to exist.

Framtidens kvinnor. Mognad och medborgarskap i svenska flickböcker 1832–1921

The future woman – what would she be like? And what would be her place in society? These questions were explored through stories about girls’ upbringing and education in nineteenth and early twentieth century literature for girls. About the time of the breakthrough of women novelists in the 1830s, books for girls started to be published. They depict everyday games and exhilarating adventures, student life and vocational dreams. By addressing girls directly, these books aimed at both discussing and influencing future female citizens. In Future Women, Maria Andersson shows how Swedish literature for girls and its depiction of young women was a part of the nineteenth century debate on women’s civil and political rights. The genre gathered authors of different political convictions but they were all united by the fact that young women became the focal point of contemporary social changes in their works. Housewifely girls, manly women students and shopping coquettes illustrated different paths to adulthood and modern life. In the girl book genre, the young woman was simultaneously a vehicle of nostalgic memories from a lost world and the promise of a more equal, peaceful future.