Identity Issues in Bosniak Literary Science At the Begining of the 21st Century

In the period between the end of the 20th and the beginning of the 21st century, Bosniak literary science found itself, like its literature a century earlier, in proving its own identity. The recent generation of Bosnian-Herzegovinian theorists confirms in numerous studies the validity of the application of different literary-theoretical concepts in the study of the Bosniak literary past, with identity issues in literature being among the most important. In this regard, the paper will focus on two important issues. The first is the decades-long neglect of Bosniak literature and, consequently, the scientific exploration of its structural-poetic features. The second question, which the paper will attempt to answer, was raised in the study 'Literature and the Identities' by Vedad Spahić. This theorist believes that the most significant moments of literary science are when it reveals the deep structures of the whole culture while talking about literature. Apart from Spahić, the corpus of literature includes the studies by Enes Duraković, Sanjin Kodrić, and other theorists of the 21st century. Their works confirm that Bosniak literary identity today exists in areas distorted borders strict autonomy of literary science.

Fracture: The reception of the 'other' author in Aotearoa

<p>The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.</p>

Fracture: The reception of the 'other' author in Aotearoa

<p>The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.</p>

Andalusian literary identity - a descriptive study) Book of Dr. Mahmoud Shaker

Every thing in the universe has an identity that indicates its existence and distinguishes it from the rest of its assets, and there are renewed and fixed identities. The visual identity is the first problem of human identity and the person carries it forcibly without a prior choice of it, and it is not subject to change at the genetic level with the ability to change it and give it up in the identity papers that are The individual chooses it to express himself and it can also be abandoned through the cultural appearance that reflects belonging to this identity. It is the basis on which many overlapping identities are formed, which a person acquires since birth and before he interacts even with his social milieu and before he knows what he is and what things are around him and before he acquires culture, language, religion in addition and before he knows what he is and what things around him and before His acquisition of culture, language, religion, in addition to other identities that will be determined later, such as belonging to a religious, whether professional, partisan, or cultural group. Accordingly, we interpret identity as how people define themselves and describe themselves based on ethnicity, citizenship, belonging to one land, common history and belief. Key words: identity, culture, Andalusia

Fracture: The reception of the 'other' author in Aotearoa

The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.

Fracture: The reception of the 'other' author in Aotearoa

The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.

From Independent Publishers to Literary Festivals

This article examines the complex nature of cultural policy, economy and labour and their importance to the creative industries. Through an exploration of the publishing industry and the rising popularity of literary festivals and events, the article considers the challenges and the future of modern publishing and the role of funding and local policy in creating a diverse and inclusive literary identity. Furthermore, the article considers the role of publishers and literary festivals in facilitating and enabling this by creating sites for cultural and literary engagement in the face of a constantly changing industry dominated by algorithms, ebooks and new forms of production and distribution. The article therefore takes a closer look at the potential for literary festivals to fit into a modern publishing culture and the literary field as a whole, and uses local literary festival LiteratureXchange as an example of the potential of these events.

The Effect of Al-Andalus and Mashriq Bilateral in the Production of Andalusian Creative Poetry

From the time of the Muslim Arabs, the Iberian Peninsula “Iberia” (Spain and Portugal), when the Arab conquerors entered it, became the center of scientific and cultural enlightenment for more than eight centuries, which the Arab Islamic State has experienced since the Umayyad era, passing through the kings of the sects. Rich in creativity and paper and beauty has been seen several factors for the prosperity of the literature of the people of Andalusia and the quality of the product of poetry in particular of these factors social environment luxury was the culture Didnhm was mourning and Ibn al-Bazaz and Ibn al-Jazzar buy and non-purchase taste the Yan for representation is not secret, as well as the negative impact of influence has God endowed. In addition to this, the most important and distinctive factors are the rivalry between Mashreq “The Eastern Part of the Arab World, Countries Bounded between the Mediterranean Sea and Iran” and Andalus, the rivalry that characterized the Arab Muslim identity as an Andalusian literary identity derived from the alternative home. The Orient, but encouraged the rulers of Andalusia - most of them poets - this competition to be positive integrative not only because the designated one is the language of the Koran and common broad religious and national at the same time. It is not clear from this point of view that this research is influenced by the influence of the two oriental and the Andalusian in the creative work of Andalusia. Andalusia, and the intention to compare the environment has lost in the writings of many. But an attempt to trace the positive impact generated by the bilateral East and Andalusia was the birth of a creative poetic and creative, and what positive manifestations of the bilateral on the poets of Andalusia to compare the segments of the flowers in this area? The bases of the research revolve around the statement of the factors of cross-fertilization between the two houses and then the manifestations of the positive bilateral stood at the titles of poets Andalusians, Al-Gazal, Abu Nawas and IbnHazm and preference of the Mashreq and Ibn Abed Rabbo and Mutanabi and IbnShahid and his aides and calamities.

Norwid w poezji współczesnej. Formy obecności

The article attempts to establish the character of references to Norwid in texts by poets representative of Polish modernity, accounting for functions of intertextual allusions, initially in the area of collective consciousness. As it turns out, during the interwar period and the Second World War works by the Romantic master were referenced at all stages of developing a distinct literary identity. Poets would not just read Norwid’s texts, but in fact regard themselves in the mirror of his works. However, after 1956 Norwid’s presence in literary life was rooted in the needs of literary scholars rather than in actual intertextual references. This tendency also manifests in studies of works by individual authors. It does happen – especially when we speak of implicit traces of Norwid in contemporary poetry – that the plane of relations between authors is not addressed by interpreters. Sometimes, dialogue as a research category disappears from their view, while the body of Norwid’s works is treated merely as a context, becoming a kind of mirror meant to display more fully a certain theme or characteristic of somebody’s writing. However, the most important forms of Norwid’s functioning in contemporary times are ones that facilitate meetings(successfulor not), as demonstrated by the fascination with Norwid’s poetry recognizable in texts by authors such as Mieczysław Jastrun, Julian Przyboś and Tadeusz Różewicz.