Motywacja metamorfozy a potworność cielesna i duchowa w wybranych realizacjach wątku „Pięknej i Bestii”

The article discusses the motivations of the monstrous metamorphosis in some Beauty and the Beast retellings, chiefly those by Gabrielle-Suzanne de Villeneuve (1740), Jeanne-Marie Leprince de Beaumont (1756), Alex Flinn (2007), and Małgorzata Musierowicz (1996). Other versions are mentioned as a broader context. The aim of the article is to observe a correlation between transmotivation and a retelling’s structure and message. While folk versions usually omit the motivation altogether, literary and film retellings often provide in-depth explanations of the transformation. In the 18th-century fairy tales, the metamorphosis is a villainy inflicted on an innocent victim, and Beauty has to see through the monstrous appearance in order to realize the true, internal beauty of the Beast. Retellings from the 20th and 21st centuries, on the other hand, often present the metamorphosis as a comeuppance for some emotional and moral fault. Physical deformity reflects spiritual monstrosity, and the Beast’s struggle with the latter helps him become free of the former. As a consequence, transmotivation implies a shift in the narrative from Beauty’s experience to the Beast’s internal change. This may be due to the didactic tradition of the fairy tale for children, in which the hero is tested and disciplined, as well as the influence of the modern novel, focused on individual characters’ psychology

Italian Canadian italophone fiction: The works of Nino Famà

Within the Italian Canadian literary corpus, fiction written in Italian has occupied a special spot. Because Italian Canadian authors have written primarily in English or, secondarily, in French, works by italophone writers have had an even more meagre circulation than that, already itself quite reduced, enjoyed by their anglophone or francophone counterparts. Yet, despite this limitation or perhaps also because of it, Italian Canadian italophone is nonetheless literature which does raise important issues. Focusing on the short stories and novels of Nino Famà, this article traces those issues in order to show not only how they summarize the main thematic and stylistic gist of Italian Canadian italophone fiction but also, most importantly, how they relate to some of the concerns which have always been associated with the Western modern novel.

NATIONALLY MARKED COLLECTIVE LINGUISTIC PERSONALITY OF THE CHARACTER (ON THE MATERIAL OF V. SHKLYAR’ S NOVEL «KHARAKTERNYK»)

The article analyzes nationally marked collective linguistic personality in V. Shkliar`s novel «Kharakternyk»; identifies the relationship between linguistic personality and the worldview of the community where it was formed; analyzes different scientific approaches to the interpretation of the concept of linguistic personality and modern tendencies in its study. There is no doubt that the importance of analyzing the linguistic personality of the characters in popular books is difficult to overestimate because if one or another book gained popularity among a great number of people, then it is interesting to the reader because he identifies himself with the main character of this book, his perception of the world, the language, the linguistic behavior. It should be noted that modern Ukrainian authors had to fight for their popularity, but now we can observe the increasing public interest in the works of Ukrainian writers. In our opinion, V. Shklyar is one of the most popular and most controversial writers in Ukraine and it was the main reason why we chose his novel to analyze. In our opinion, one of the best examples of how to create a bright character, to show his inner world without resorting to broad authorical characteristics, is V. Shklyar`s novel «Kharakternyk». The aim of this paper is to investigate the main features of the nationally marked collective linguistic personality of the characters in the novel of V. Shklyar «Kharakternyk». Achieving the aim of this scientific article involves solving the following tasks: 1) to analyze the historical formation of the concept «linguistic personality» and to get acquainted with modern tendencies in the study of linguistic personality nowadays; 2) to identify the main factors influencing the formation of linguistic personality; 3) to analyze the main features and national markers of the collective linguistic personality in the novel of V. Shklyar «Kharakternyk». The object of our scientific article is the linguistic personality of the characters of the modern novel. The subject of this work is the collective linguistic personality in the V. Shkliar`s novel «Kharakternyk». The concept of linguistic personality was analyzed by such linguists as V.Sheludko, T. Dolshykova, L, Macko, T. Mayboroda and other scientists. Today the linguistic personality of Ukrainian writers is of interest to linguists which indicates the anthropological perspective of linguistic research in Ukraine, but the

Early Novels and Stories (1915–1923)

Between 1915 and 1923, Virginia Woolf published her first three novels (The Voyage Out, Night and Day, and Jacob’s Room) as well as some of her most iconic essays and stories. This chapter examines that work with particular attention to how Woolf’s early fiction describes modern novels, placing it in conversation with her essays on the modern novel. Woolf turned repeatedly to the problem of how to achieve the freedoms of a new modernity, and her early work struggles to imagine a new kind of novel while acknowledging that this new kind of novel does not exist: not quite yet. This chapter examines Woolf’s deliberately undetermined vision of modernity, tracing how her early work persistently ponders and imagines what a new era of writing will offer even as she refuses to specify and delimit what has yet to come to pass.

Жанровый синкретизм современного романа (на материале романа «зулейха открывает глаза» Гузель Яхиной)

This article uses the example of the novel Zuleikha opens her eyes by Guzel Yakhina to identify some features of the modern novel: genre syncretism, manifested in the hybridisation of genre formulas. The subject of the study is the model of a novel in which, within the framework of a single work, genre formulas and features of various traits of the novel are merged and transformed. The novel’s genre syncretism manifests itself in the use of multi-level conflict, which contributes to the expansion of the boundaries of the narrative.

Armed with Madness

Increased attention to psychology in the modern novel afforded expanded thematic access to aberrant states of consciousness. In a way, this returned the novel to its prototype in Don Quixote, and rejuvenated awareness of depicted mania in realist novels. Eight novels are profiled here (by Fowles, Fitzgerald, Lowry, Dostoyevsky, Canetti, Mann, Conrad, and Woolf) in order to examine narrative strategies for exploring madness, and implicating the reader’s consciousness as a participatory component of mental aberration. This approach counters Georg Lukács’s contention that depictions of mental aberration violated the novel’s obligation to depict normality. Modernism, he claimed, privileged distortion, but the novelists examined here suggest that the historical pressures of modernity provided distortions exceeding any particular imaginative license. These pressures are acutely rendered in portraits of domesticity in The Secret Agent by Conrad and Mrs Dalloway by Woolf, two among many such reckonings with geo-political trauma casting a shadow over private life.

Del derecho a la literatura: Boccaccio y la (re)codificación de la novela

The relationship between law and literature takes various forms, but the way in which law contributed to the formation of the modern novel is rarely mentioned. As this essay shows, this was possible because Justinian’s codification of Roman law was appropriated by Boccaccio, who, in turn, codified the novel. Coding allowed him to gather a heterogeneous set of stories under a powerful articulating framework. But in addition, as will be shown in these pages, the very term “novel” also comes from Justinian, since that is how he titled his legislative work after his Constitutions.

Modern Kazakh novels: the genre transformation

This article discusses and analyzes the modern novel form, which went beyond the classical criteria. In particular, according to the works of such authors as T. Abdikov "Parasat Maidany", M.Magauin "Zharmak" and D.Amantay "Flowers and books", a genre modification of the modern novels is defined. As a result of the analysis of the works of contemporary writers, original tricks,and techniques for the transmission of modern reality by each author have been revealed. So, T.Abdikov resorts to a diary narrative,using for his artistic purposes it's "confessional", "reflective" function, which helps to reveal the character and creates the illusion of the authenticity and truthfulness of the depicted reality,and M.Magauin uses the paradigm of duality reflected in Western literature in the works of A. Camus, Z. Freud, C.-G. Jung. Thus, M.Magauin rises to the philosophical generalization of modern reality in the postmodern image. D. Amantay completely withdraws from the traditional forms of narration, tries to revealthe contradictory essence of modern reality.

Oil, Water, World, Wax, Mind: Jean Rolin’s Ormuz

This essay considers the unworldly setting of Jean Rolin’s novel Ormuz (2013), composed around the attempt by a shadowy character named Wax to swim across the Strait of Hormuz. This twenty-one-nautical-mile-wide stretch of sea separating Iran from the Arabian Peninsula, through which is shipped 35 percent of the world’s petroleum, is a waterway of the utmost geopolitical importance, its harbors built not for dreamy swimmers but for giant oil tankers and the elaborate maritime-military infrastructure assuring their passage. Such a setting would seem to stand as a bleak other to the novel as genre. Yet if one thinks of the history of the novel as inseparable from that of carbon capitalism (as Amitav Ghosh has argued), such a claim is reversed—this site where powerful strategic interests drive the flow of oil, capital, and power is the place of the continual making and unmaking, by night and day, of the world order, and thereby of the modern novel. The essay reflects on what Wax’s weird wager—as an emblem for a remarkable narrative wager—may owe to such intertexts as Google, Descartes’s Meditations, and Jules Verne’s Tour du monde, and argues for reading Ormuz as an ecological novel for our times.